14  ihjLTUXii.  (I  QcJ^j 

1 1 U)  1 4*^  S4 


-V 


THE  ART  OF  CARICATURE 


« 

O 

35 

H 

c-1 

C/3 

Z 

<5 

1-1 

O 

W 

C/3 

P 

, 

Pm 

1h 

O 

z 

w 

Pi 

Ph 

S 

W 

cn 

> 

W 

<5 

H 

PM 

2 

W 

O 

PM 

35 

H 

W 

C/3 

35 

C/3 

O 

1-1 

Pi 

e 

£ 

U 

<5 

o 

S 

35 

< 

O 

Z 

Pi 

W 

> 

w 

P 

w 

> 

s 

Pi 

Pi 

c 

c 

to 

u 

o 

w 

c 

03 

H 

£ 

P 

<5 

W 

y 

Pi 

H 

oi 

<5 

U 

W 

y 

W 

Z 

pq 

< 

Z 

C-l 

C/3 

< 

g 

u 

- 

Pi 

w 

C/3 

O 

Pm 

c/3 

1 

W 

1 

Q 

i-i 

3) 

O 

Pm 

Pi 

O 

£ 

00 


w 

o 

& 

>* 

B 

P4 

< 

B 

m 

B 

b 

5 

0 

s 

0 

Q 

B 

O 

B 

B 

Pu, 

S 

< 

XI 

B 

X: 

< 


The  Baker  Taylor(o.  "Publishers  I'IewTof^’ 

33-37  East  t7th  Street,  Union  Square  North 


Copyright,  1904, 

by  THE  BAKER  & TAYLOR  CO. 
Published  September,  1904 


THE  GETTY  CENTER 
LIBRARY 


CONTENTS 

PAGE 

Historic  Note 

Elements  of  Pictorial  Art 20 

Nature  Drawing 28 

Memory  Drawing 43 

Artistic  Anatomy 56 

Facial  Expression 86 

Perspective  and  Foreshortening  ....  90 

Color 96 

Technique  . 101 

Composition 120 

Applied  Caricature 124 

Modern  Masters  of  Comic  Art 145 


vii 


Illustrations 


An  Example  of  Du  Maurier’s  Early  Work.  .Frontispiece 

Thomas  Nast’s  Last  Sketch Page  xv. 

A Japanese  Caricature “ 3 

A Drawing  by  George  Cruikshank “ 5 

George  Cruikshank “ 6 

Sir  John  Tenniel’s  Last  Cartoon  in  “Punch”.  ...  “ 7 

John  Leech  and  George  Du  Maurier “ 9 

A Caricature  That  Made  Charles  Keene  Famous  “ 10 

A Typical  German  Cartoon  of  the  Middle  of  the 

Nineteenth  Century “ 11 

A Celebrated  American  Cartoon “ 12 

Cartoon  by  Thomas  Nast  in  “Harper’s  Weekly”  “ 13 

A Typical  Cartoon  by  Joseph  Keppler “ 14 

Cartoon  by  Bernard  Gillam “ 15 

“Rum,  Romanism  and  Rebellion” “ 17 

First  Cartoon  Published  in  a Sunday  Newspaper  “ 19 

Japanese  Memory  Drawing “ 23 

An  Impression,  or  Shorthand  Note  from  Nature  “ 25 

A Drawing  Showing  Planes  with  Unusual  Clear- 
ness   “ 29 

Color  Values  Are  Shown  in  the  Various  Gar- 
ments, etc “ 31 

Cast  Shadow  Affecting  the  Color  Values  of  the 

Fence  and  Ground “ 33 

Diagram  Showing  Method  of  Obtaining  Com- 
parative Measurements  by  Using  a Lead 
Pencil  as  a Gauge “ 34 


ILLUSTRATIONS 


An  Excellent  Example  of  Anatomical  Sugges- 
tion   

The  Tramp  on  the  Fence  Shows  Well-Drawn 

Wrinkles  at  the  Elbows  and  Knees 

Excellent  Shoe  Draughtsmanship  Is  Shown  in 

this  Sketch  by  Zim 

An  Automobile  Cartoon,  Showing  How  a Knowl- 
edge of  the  Sports  of  the  Day  Enter  Into 

a Cartoonist’s  Equipment 

Ideal  Male  Figure,  Eight  Heads  High 

Showing  the  Human  Head  Subdivided  in  Such  a 
Manner  as  To  Be  Easily  Comprehended  by 

the  Draughtsman 

The  Hands  in  Different  Positions 

The  Ideal  Eye,  Ear,  Nose  and  Mouth 

The  Human  Skeleton 

Human  Skull 

Facial  and  Neck  Muscles 

The  Shoulder- Joint 

Bones  and  Muscles  of  the  Arm 

Muscular  Development  of  the  Upper  Half  of  the 

Figure  (Front) 

Muscular  Development  of  the  Upper  Half  of  the 

Figure  (Back) 

Muscles  of  the  Leg 

The  Human  Body 

A Study  in  Facial  Expression 

Example  of  Linear  Perspective 

Aerial  Perspective  Is  Shown  in  this  Drawing  by 
Diminishing  Color  Values  in  the  Fore- 
ground, Middle  and  Far  Distance 

Foreshortening  Is  Shown  in  the  Tiger’s  Body.  . . 

A Drawing  in  Slow  Lines 

Drawing  Showing  Hooked  and  Zigzag  Lines . . . 

Cross-Hatched  Lines 

Stippling  Effect 

An  Example  of  Spatter  Work 

Mechanical  Gray  Tone  (Ben  Day  Process) 

A Chalk-Plate  Drawing 


age  35 


a 


37 


u 


39 


u 

u 


41 

45 


u 

u 

u 

u 

u 

u 

u 


u 


u 

u 

it 


u 


49 

5i 

53 

59 

63 

66 

7 1 

73 

75 

77 

80 

85 

89 

91 


u 


93 

94 

105 

107 

108 
hi 

113 

ii5 
11 7 


ILLUSTRATIONS 


A Good  Example  of  Pyramid  Composition Page 

Balance  of  Masses  of  Form  Is  Excellently  Shown 

Here 

An  Arrangement  in  Opposing  Masses  cf  Lines. 

Good  Color  Composition “ 

Truncated  Composition 

Figures  Showing  Action  in  Its  Most  Explanatory 

Phases “ 

The  “Balloon”  Device  for  Explanatory  Captions 

Is  Shown  Here “ 

A News  Cartoon “ 

English  Cartoonists  and  Caricaturists  of  the  Past 

and  Present “ 

The  Pioneers  of  American  Caricature “ 

Some  Prominent  New  York  Cartoonists “ 

Well-Known  American  Cartoonists “ 

Will  E.  Chapin  and  Edward  S.  Reynolds “ 

Leon  Barritt  and  Eugene  Zimmermann “ 

Victor  Gillam  and  J.  S.  Pughe “ 

Valerian  Gribayedoff  and  Walt.  McDougall.  ...  “ 

Claudius  Maybell  and  Tom  Barclay “ 

Dan  Beard  and  Michael  Angelo  Woolf “ 

Grant  Hamilton “ 

C.  F.  Naughton 

R.  D.  Handy “ 

M.  J.  Fallon  and  Norman  Ritchie . “ 

J.  H.  Donohey  and  W.  L.  Evans 

E.  A.  Bushnell  and  Harrv  J.  Westerman 

A.  B.  Frost  and  McKee  Barclay 

Winsor  McCay 

H.  C.  Coultaus 

J.  S.  Anderson  and  C.  M.  Payne 

V.  Floyd  Campbell “ 


1 21 

123 

128 

I29 

131 

135 

137 

M3 

147 

149 

151 

157 

l6o 

l6l 

l62 

163 

164 

165 

166 

168 

169 

1 71 

172 

i73 

i74 

i75 

176 

i77 

179 


INTRODBCnON 


Volumes  treating  of  the  technical  side  of  art 
are  plentiful.  It  would  seem  as  if  every  detail  of 
picture-making  had  been  so  thoroughly  covered  that 
further  books  upon  the  subject  would  be  superfluous. 
It  is  a fact,  however,  that — up  to  the  present  time — 
the  art  of  caricaturing  has  never  been  exhaustively 
explained  in  one  volume. 

The  earnest  seeker  for  information  could,  by  dint 
of  persistent  effort,  gain  a little  knowledge  here,  a few 
facts  there,  but  could  not  find  any  expert  informa- 
tion about  many  important  things. 

It  is  hoped,  therefore,  that  the  hints  in  this  book 
will,  in  the  absence  of  personal  instruction,  at  least 
provide  its  readers  with  a foundation  upon  which  to 
build  an  art  education. 

Of  course  no  text-book  can  be  of  real  use  unless 
supplemented  by  interest  and  ability  on  the  part  of 
the  student;  practice  and  final  success  depend  upon 
these  two  factors. 


IX 


X INTRODUCTION 

To  descend  from  the  sublime  to  the  ridiculous  is 
the  caricaturist’s  constant  effort.  To  explain  how 
this  can  be  accomplished  interestingly  and  pictorially 
is  the  purpose  of  these  pages. 

Caricature,  contrary  to  a popular  conception,  is  not 
incorrect  or  bad  drawing : it  is  good  drawing,  refined 
and  controlled  to  produce  a humorous  effect.  A well- 
drawn  caricature  has  just  as  much  and  oftener  more 
art  beneath  it  than  an  ambitious  painting  hung  on 
the  walls  of  an  art  gallery.  A beginner  in  the  art 
of  caricature  can  do  himself  no  greater  service  than 
to  get  this  great  truth  firmly  fixed  in  his  mind. 

It  is  true  that  “ the  grotesque  and  the  beautiful 
are  not  produced  by  opposite  means,  but  by  the  eccen- 
tric application  in  the  one  of  the  same  laws  that 
govern  the  other.”  It  is  obvious,  therefore,  that 
distortion  through  ignorance  is  simply  bad  drawing; 
but  distortion  with  an  understood  motive,  regulated 
by  recognized  laws,  is  not  only  right  but  more  truly 
ridiculous. 

It  will  be  well  for  the  prospective  artist  to  free  his 
mind  at  the  start  of  any  preconceived  notions  as  to 
his  natural  ability  as  a draughtsman;  for  let  it  be  dis- 
tinctly understood  that  some  of  the  greatest  artists 
that  ever  lived  were  the  poorest  draughtsmen,  and 


INTRODUCTION 


XI 


some  of  the  greatest  draughtsmen  were  the  poorest 
artists.  Draughtsmanship  and  artistic  instinct  have 
no  more  relation  to  each  other  than  penmanship  and 
literary  instinct. 

To  quote  from  a writer  who  handles  this  idea 
very  clearly:  “ We  often  hear  the  remark,  ‘ So-and- 
So  ought  to  be  able  to  draw,  for  it  comes  natural  to 
him  ’ — an  entirely  erroneous  assumption — for,  how- 
ever natural  may  have  been  the  peculiar  direction  of 
the  mind,  it  never  yet  ‘came  natural’  to  anyone  to  use 
a pencil.  Proficiency  results  from  practice,  and  prac- 
tice alone ; though  it  is  true  that  the  greater  the  inborn 
love  for  the  subject  the  more  untiring  will  be  the  en- 
deavor to  master  the  means  of  expressing  it.  The 
truth,  therefore,  is  that  a genius  is  forced  to  practice 
infinitely  harder  than  anyone  else  to  keep  pace  with 
his  impulses.  Hence  he  excels  in  execution.” 

A knowledge  of  drawing  having  been  acquired,  un- 
imagined pleasures  and  sensations  are  opened  up  to 
the  happy  possessor  of  this  accomplishment.  It  is 
quite  true  that  anybody  of  average  intelligence  can, 
if  he  will,  learn  to  draw.  It  is  also  quite  true  that 
nobody  of  average  intelligence  will  ever  learn  to 
draw,  in  the  highest  sense  of  the  word,  unless  a strong 
inborn  instinct  impels  him  to  do  so. 


xii  INTRODUCTION 

A native  sense  of  the  ridiculous  and  a natural  gift 
of  sarcasm  and  repartee  are  necessary  equipments  for 
the  comic  artist;  for  a person  who  cannot  make  others 
laugh  by  the  use  of  language,  with  which  he  is  thor- 
oughly familiar,  cannot  hope  to  do  so  by  means  of  a 
few  scratches  of  his  pen  or  pencil  in  an  art  in  which 
he  has  acquired  proficiency  comparatively  late  in  life. 
Nothing  can  be  more  tiresome  than  the  efforts  of  a 
person  attempting  to  be  funny  who  has  no  material 
qualifications  for  such  a role. 

It  has  of  late  years  become  a generally  accepted 
theory  that  the  manual  dexterity  and  keenness  of 
vision  so  necessary  to  the  artist  are,  to  a greater  or 
less  extent,  the  gifts  of  every  human  being;  this  has 
led  to  the  introduction  of  drawing  in  the  public 
schools.  Artists  of  superlative  merit  are,  neverthe- 
less, as  scarce  as  ever.  It  will  be  seen,  therefore,  that 
the  vital  difference  between  good  drawing  (which  all 
may  acquire)  and  good  art  (which  few  can  attain)  is 
the  difference  between  genius  and  the  lack  of  it. 

Talent  or  genius  is  artistic  perception — the  ability 
to  emphasize,  select,  and  arrange  natural  facts  in  such 
a manner  as  to  arouse  lively  feelings  of  mirth,  sor- 
row, etc. ; to  stir  any  of  the  wide  range  of  emotions 
of  which  the  human  mind  is  capable. 


INTRODUCTION  xiii 

A draughtsman  who  can  draw  correctly,  but  has 
no  new  message  to  deliver,  is  no  more  an  artist  than 
is  an  expert  penman  who  can  make  beautiful  flour- 
ishes, but  has  no  command  of  language. 

Drawing,  in  short,  while  an  absolutely  essential 
equipment  of  the  artist,  should  ever  be  looked  upon  as 
merely  a means  of  expression.  All  the  best  teacher, 
or  the  best  book  of  instruction,  can  do  is  to  supply 
such  technical  knowledge  as  will  enable  its  possessor 
to  acquire  a perfect  means  of  expression.  It  is  be- 
lieved that  a large  part  of  the  information  given  in 
this  book  has  not  appeared  in  printed  form  else- 
where, and  the  author  has  kept  the  needs  of  the  be- 
ginner constantly  in  mind.  Thus  no  apology  need  be 
made  for  the  rather  elementary  character  of  part  of 
what  follows.  The  general  interest  which  pub- 
lishers and  cartoonists  have  shown  during  the  prep- 
aration of  this  work  and  their  unvarying  courtesy  in 
allowing  the  reproduction  of  cartoons  (many  of  them 
copyrighted),  portraits,  etc.,  deserve  a word  of  sin- 
cere thanks. 

The  author  begs  to  acknowledge  his  indebtedness 
to  the  publishers  of  the  New  York  Herald , World, 
Journal,  Press,  and  Evening  Telegram;  Puck,  Judge, 
Harper’s  Weekly,  Illustrated  American,  Brooklyn 


XIV 


INTRODUCTION 


Eagle , Philadelphia  Press,  Evening  Telegram,  and 
North  American;  Pittsburg  Gazette,  Cleveland 
Plain  Dealer  and  Leader ; Ohio  State  Journal , Cincin- 
nati Post,  Baltimore  News,  Boston  Post,  Minneapo- 
lis Journal  and  Tribune ; Duluth  News,  Tribune,  Chi- 
cago Tribune,  Inter-Ocean,  Chronicle,  and  News; 
Jacksonville  (Fla.)  Metropolis,  Tacoma  Ledger; 
Detroit  Journal,  Denver  Republican,  Milwaukee 
Journal,  Los  Angeles  Times,  Kladderadatsch  (Ber- 
lin, Germany) , and  many  others. 

Cartooning  has  a past  rich  in  historic  interest, 
and  has  made  an  indelible  impress  on  the  world’s 
progress.  Its  future  is  full  of  brighter  promise,  and 
holds  rewards  of  money  and  fame  very  tempting  to 
ambitious  young  men  and  women.  The  bitterness 
and  brutality  back  of  the  most  popular  old-time 
cartoons  have  happily  almost  entirely  disappeared; 
and  Mr.  Frederick  Opper,  the  eminent  cartoonist, 
in  considering  one  phase  of  this  subject,  looks  hope- 
fully ahead  when  he  says : 

“ The  Presidential  campaign,  that  great  national 
institution,  seems  to  be  undergoing  a great  change. 
This  change  is  in  the  direction  of  less  bitterness  on 
both  sides,  less  partisan  excitement,  and,  generally 
speaking,  less  ‘ hullabaloo.’  Men  seem  to  be  grad- 


XV 


INTRODUCTION 
ually  realizing  that  the  election  of  a President  is 
more  or  less  a matter  of  form,  in  which  two  good 

/KV‘W  Ui. 


American  citizens  are  put  forward  for  the  office, 
and  whichever  one  gets  it  the  country  is  safe.  This 
feeling  is  causing  more  and  more  moderation  in  the 


XVI 


INTRODUCTION 


tone  of  election-time  speeches  and  editorials  and 
cartoons.  The  violent  pictorial  attacks  that  were 
heaped  on  Lincoln,  Seymour,  Tilden,  Greeley,  and 
Blaine  were,  perhaps,  what  might  have  been  ex- 
pected at  the  time  they  appeared.  Men  were  march- 
ing in  nondescript  uniforms  at  night,  and  calling 
each  other  villains,  cutthroats,  and  traitors.  I do  not 
think  such  times  will  ever  come  again,  and  sincerely 
hope  they  will  not.  If  we  elected  a President  every 
six  months  we  wouldn’t  take  the  trouble  to  get  ex- 
cited about  it.  Why,  then,  lose  our  self-control  and 
call  each  other  names  when  we  elect  one  every  four 
years?  ” 


THE  ART  OF  CARICATURE 


HISTORIC  NOTE 

NOTHING  distinguishes  civilized  from 
uncivilized  man  with  as  much  emphasis 
as  humor,  and  the  various  stages  of 
civilization  are  marked  by  the  character  and  amount 
of  humor  of  each  epoch. 

The  pages  of  history  show  us  that,  though  the 
ancients  differed  from  us  in  many  essential  respects 
and  looked  at  many  subjects  from  a radically  different 
viewpoint,  they  laughed  at  much  the  same  things  as 
we  do  and  equaled  us  in  a rather  cruel  delight  in 
ridicule. 

Looking  back  to  the  first  century  of  the  Christian 
era  and  the  eruption  of  Vesuvius,  the  student  of  other 
days  finds  with  pleased  surprise  a startling  likeness 
between  the  human  nature  of  then  and  now. 

The  burial  of  the  old-time  Italian  cities  in  a pall  of 
ashes  has  preserved  them  so  well  that  it  is  an  easy 


2 THE  ART  OF  CARICATURE 

matter  to  read,  as  from  a book,  a record  of  the  life 
with  which  they  formerly  teemed. 

We  are  told  that  if  we  could  stroll  down  the  streets 
of  those  cities  as  they  were  first  exhumed  we  would 
see  a drug  store  with  a box  of  pills  on  the  counter 
ready  to  be  wrapped  up,  when  the  proprietor  heard  the 
warning  thunder  and  fled;  we  would  see  a baker-shop 
with  loaves  of  bread  stamped  with  the  baker’s  name; 
we  could  enter  a studio,  strewn  with  blocks  of  marble, 
unfinished  statues,  mallets,  and  chisels;  and,  further 
on,  we  would  come  upon  a Roman  garrison  with  walls 
covered  with  comic  chalk  drawings  in  red,  white  and 
black. 

Burlesque  was  a notable  element  of  the  art  of  that 
time  and  place,  and  recent  excavations  have  brought 
to  light  drawings  depicting  humorous  scenes  from 
the  plays  of  Plautus  and  Terence.  The  characters 
are  all  plainly  marked  with  their  names,  and  the 
pictures  abound  in  burlesque  dwarfs,  deformed 
characters  of  all  kinds,  and  beasts  and  birds  as 
well. 

The  lower  animals  are  often  shown  in  these  old- 
time  pictures  engaged  in  the  everyday  occupations 
of  men — a fashion,  by  the  way,  which  has  recently 
been  revived  and  is  meeting  with  great  popular  favor. 


THE  ART  OF  CARICATURE  3 
Thus  we  may  again  note  that  “ there  is  nothing  new 
under  the  sun.” 

Another  conceit  of  the  ancients,  which  is  not  un- 
known to  modern  art,  was  human  bodies  with  animal 


a JAPANESE  CARICATURE. 


heads;  though,  even  in  the  first  century,  this  was  an 
ancient  jest. 

No  consideration  of  antique  art,  either  serious  or 
comic,  can  approach  completeness  without  noting  the 
historic  work  of  the  Chinese  and  Japanese.  For 
unexpected  and  often  extremely  humorous  invention, 


4 


THE  ART  OF  CARICATURE 


a precise  knowledge  of  drawing,  perspective,  and 
composition,  the  best  art  of  these  nations  cannot  be 
excelled  by  the  master  workers  of  any  age  or  country. 

The  gods  and  goddesses  of  the  Greeks  were  con- 
sidered fair  targets  for  the  shafts  of  ridicule  of  that 
intellectual  people.  A fragment  of  papyrus,  contain- 
ing a fine  specimen  of  Egyptian  caricature,  is  one  of 
the  few  remaining  traces  of  Egyptian  comic  art. 
Its  theme  might  have  been  chosen  by  a present-day 
caricaturist,  representing  as  it  does  a quartet  of  ser- 
vants carrying  their  master  home  from  a carousal. 

Political  caricature  appeared  for  the  first  time  in 
the  17th  century,  and,  as  religion  was  such  a vital 
part  of  the  life  of  the  people  of  this  period,  all  the 
sects,  creeds,  and  isms  came  in  for  their  share  of 
ridicule.  The  Quakers  and  Baptists  came  into 
prominence  at  that  time,  and  the  Jews  made  occa- 
sional protest  for  their  rights.  Louis  XIV.,  with  his 
ill-luck  and  vanities,  also  offered  splendid  opportuni- 
ties to  the  wielders  of  the  comic  pencil.  Then,  too, 
the  Reformation  offered  suggestions  for  satirical  car- 
toons which  were  used  to  the  fullest  advantage. 

“ The  age  of  caricature  ” would  be  an  apt  title  for 
the  1 8th  century,  for  in  literature  as  well  as  art  the 
spirit  of  caricature  and  keen  satire  was  predominant. 


THE  ART  OF  CARICATURE  5 
This  age,  which  gave  to  the  world  such  master  satirists 
as  Fielding,  Swift,  Hogarth,  and  Smollett,  exerted  an 


Mullet.  G-outaliWc.  WKo  fiorjlculorty  rvyjuXt  Outt  fci  7nuuis  k-  Ju.Ptii’(u-*Ulffli.5ii-vc.  9ul  he.  htu  iwtatiy  cmAtxm.  »4 

\bu.  Wffvlw • Jiut  fortk.  I y ItlT  KjDD  of  CkunoLo!,  Stwe*  . e*ce.|vt  The  CcntUvum  uiB lack*.  \vdUud,  some  yeans  ayo  , a n4.  ti ut  u Uu,  errdy 
tvftnsdctum.  (it  cvet  had,.  or  ever  tn£cn.As  to  have.  w>tk.  Hu-  ddcrruxuL  W1-  kiddy,  Hu-  tubhshw  at  Ch.a,n-oCos  Stvtct  Ve«t  Sfrjujl  - 

- - — ^c^lcrvvilit.  Au,qut  >'.*!$ 3 1* 

A DRAWING  BY  GEORGE  CRUIKSHANK. 

influence  on  the  art  of  caricature  which  is  felt  even 
at  the  present  day. 

During  the  reign  of  George  III.  caricature  was,  in 
accordance  with  the  spirit  of  the  times,  immoral, 
coarse,  and  vulgar.  A glance  at  the  numerous  ex- 
amples of  the  work  of  this  period  which  have  been 


6 


THE  ART  OF  CARICATURE 


preserved,  reveals  clearly  that  bad  manners,  ill  tem- 
pers, and  loose  morals  were  the  rule.  Gillray,  an 
admired  caricaturist  of  the  earlier  part  of  this  reign, 
showed  an  extravagant  brutality  and  coarseness  that 
would  not  meet  with  favor,  even  among  the  illiterate, 


GEORGE  CRUIKSHANK. 


to-day.  Distorted  faces,  deformed  figures,  mon- 
strous conceptions  of  various  sorts  were  the  sum-total 
of  what  to  him  and  his  audience  were  humorous  con- 
ceits. Unlike  the  modern  cartoonist,  he  burlesqued 
every  improvement  of  the  time,  with  what  little  rea- 
son can  be  understood  when  it  is  stated  that  he  lam- 
pooned both  steam  and  gas. 

With  the  growth  of  Cruikshank  as  an  illustrator 


-5 


SIR  JOHN  TENNIEL’S  LAST  CARTOON  IN 


8 THE  ART  OF  CARICATURE 
the  standard  of  caricature  in  England  steadily  im- 
proved, for  his  work  was  so  masterful  that  scores  of 
lesser  men  were  influenced  by  him.  His  illustrations 
for  Dickens’  works  created  for  him  a monument 
which  time  cannot  destroy. 

In  the  early  part  of  the  19th  century  John  Doyle, 
another  English  master,  invented  a style  of  political 
caricature  which  was  virtually  the  same  as  that  in 
vogue  to-day.  It  was  at  this  time,  and  in  France,  that 
caricature  and  journalism  first  united  forces.  Charles 
Philipon  was  the  active  cause  of  this  union. 
Philipon  was  the  editor  of  Charivari,  to  the  staff  of 
which  the  artistic  Bohemian  element  of  Paris  rallied. 
Honorc  Daumier,  who  is  considered  by  many  to  be 
the  master  of  all  caricaturists,  was  the  bright  par- 
ticular star  of  this  sheet. 

Then  (1841)  the  immortal  Punch  came,  a model 
for  a number  of  lesser  lights  in  the  field  of  comic 
periodicals,  and  a powerful  factor  to-day  in  molding 
the  political,  social,  and  even  religious  opinions  of  a 
large  part  of  the  civilized  world. 

Leech,  Keene,  Tenniel,  and  du  Maurier  were  all 
brought  into  prominence  by  their  contributions  to  the 
pages  of  this  journal.  Until  recently  Mr.  Tenniel 
was  Punch’s  political  cartoonist,  and  du  Maurier, 


THE  ART  OF  CARICATURE  9 
until  his  death  a short  time  ago,  held  first  place  on 
the  paper  as  a satirist  of  society,  succeeding  Leech, 
who  worked  in  much  the  same  vein.  The  publishers 


JOHN  LEECH.  GEORGE  DU  MAURIER. 

The  most  famous  caricaturist  of  his  Novelist  and  draughtsman.  A lead- 
day.  A contributor  to  Punch  from  ing  contributor  to  Punch  from 
1841  to  1864.  i860  to  1896. 

of  Punch  have  been  slow  to  utilize  modern  reproduc- 
tive processes.  Photo-engravings,  making  possible 
autographic  reproduction  of  drawings,  did  not  appear 
in  this  paper  until  recently. 

Three  years  after  Punch' s birth  Fliegende  Blatter , 
its  German  counterpart,  started  upon  an  equally  bril- 


10  THE  ART  OF  CARICATURE 
liant  and  singularly  parallel  career.  In  the  pages  of 
its  bygone  numbers  may  be  found  the  best  work  of 
Schwind,  Braun,  Spitsweg,  Ille,  Busch,  Barth,  Ober- 
lander,  and,  last  but  not  least,  Steub,  the  old  favorite, 


THE  SKETCHING  SEASON  1877. 

Stodge’s  sketching  equipage  (he  can’t  walk  across  country  so  well  as  when 
he  was  younger),  combining  celerity  with  privacy  and  economy. 

A CARICATURE  THAT  MADE  CHARLES  KEENE 
FAMOUS. 

a caricaturist  of  phenomenal  industry  and  undisputed 
genius. 

Two  years  after  the  appearance  of  Fliegende 
Blatter  a work  by  Gustave  Bore,  entitled  “ Two 
Hundred  Humorous  Grotesques,”  appeared  in 


THE  ART  OF  CARICATURE 


1 1 

France,  and  proved  beyond  question  that  a new  mas- 
ter of  comic  art  had  made  his  appearance. 

Coincident  with  these  epoch-making  art  events  in 


A TYPICAL  GERMAN  CARTOON  OF  THE  MIDDLE  OF 
THE  NINETEENTH  CENTURY  ( Kladderadatsch , 1849). 


12 


THE  ART  OF  CARICATURE 


Europe,  a number  of  important  influences  of  a like 
nature  were  at  work  in  the  New  World.  Benjamin 
Franklin,  a natural  humorist,  was  the  first  American 
cartoonist  of  note,  and  his  association  with  Hogarth, 


A CELEBRATED  AMERICAN  CARTOON, 
PUBLISHED  IN  i860. 

during  his  sojourn  in  Paris  as  America’s  representa- 
tive at  the  Court  of  Versailles,  acted  as  a stimulus 
and  furnished  him  with  inspiration  to  produce  a 
series  of  comic  pictures  which,  at  that  time,  were  the 
acme  of  American  caricature. 


THE  ART  OF  CARICATURE 


13 

Between  the  time  of  the  Revolution  and  the  Civil 
War  comic  art  in  America  found  its  greatest  outlet 
in  quaint  colored  prints  intended  for  framing,  and 


Copyrighted,  1878,  by  Harper  Brothers 
THE  STREET. 


Hon.  William  M.  Tweed:  “ Why,  a fellow  feels  quite  honest  in  this 
neighborhood.” 

CARTOON  BY  THOMAS  NAST  IN  “ HARPER’S 
WEEKLY”  (1878). 

through  the  medium  of  stamped  envelopes  illustrat* 
ing  current  topics.  From  these  quaint  envelopes  can 


i4  THE  ART  OF  CARICATURE 
be  gained  an  idea  of  the  trend  of  public  opinion  as  it 
existed  when  they  were  issued. 


SPOILING  THEIR  CALCULATIONS. 


A TYPICAL  CARTOON  BY  JOSEPH  KEPPLER 
{Puck,  1884). 

A household  expression  of  to-day  is  based  upon  an 
American  cartoon  of  i860.  This  picture  disclosed 
Lincoln  seated  upon  a pile  of  fence  rails;  from  his 


THE  NATIONAL  DIME  MUSEUM. 


1 6 THE  ART  OF  CARICATURE 

mouth  issued  the  words:  “ I never  expected  when  I 
split  these  rails  they  would  elevate  me  to  the  Presi- 
dency.” In  the  foreground  Mr.  Greeley  is  seen  en- 
deavoring to  persuade  an  alert  citizen  that  there  is 
no  “ nigger  in  the  woodpile,”  though  a colored  indi- 
vidual may  be  plainly  discerned  through  the  chinks. 

Owing  to  the  lack  of  means  for  rapid  distribution 
and  enormous  circulation,  now  so  common,  this  car- 
toon permeated  the  mind  of  the  public  more  slowly, 
but,  nevertheless,  more  effectively,  than  any  argument 
of  a like  nature  could  do  now.  Thomas  Nast  might 
be  called  the  father  of  the  political  cartoon  in 
America.  The  pictorial  symbols  of  the  two  great 
parties  (the  elephant  and  the  mule)  and  the  Tam- 
many tiger  were  his  creations.  His  influence  in 
molding  political  opinion  was  tremendous. 

During  the  Civil  War  his  pictures  were  powerful 
factors  in  creating  a sentiment  for  the  Union  cause, 
and  it  was  said  that  u no  editor,  division  commander, 
or  captain  in  the  Navy  did  more  with  pen,  tongue,  or 
sword  than  Mr.  Nast  with  his  pencil.”  Many  will 
recall  his  famous  cartoon  of  Lincoln  and  Jeff  Davis, 
in  which  the  latter  appears  perched  in  the  boughs  of 
a tree,  while  the  former  occupies  the  commanding 
position  of  a hunter,  with  shotgun  in  hand,  who  has 


This  was  one  of  The  World's  most  famous  cartoons.  It  was  printed  on  November  2,  1884,  immediately  after 

Dr.  Burchard’s  speech. 


1 8 THE  ART  OF  CARICATURE 

just  bagged  his  game.  The  title  under  the  picture 
included  the  simple  and  very  amusing  request  from 
the  famous  Confederate  : “ Please  don’t  shoot,  Mr. 
Lincoln;  all  I want  is  to  be  let  alone.” 

He  was  credited  later  as  being  a potent  factor  in 
breaking  up  the  Tweed  Ring  in  New  York  City. 
His  cartoon,  “Who  Stole  the  People’s  Money? 
’Twas  He ! ” brought  forth  from  this  notorious 
organization  offers  of  handsome  pecuniary  reward  if 
he  would  “ let  up,”  and  finally  threats  against  his  life; 
all  of  which  had  no  effect  upon  him  whatever. 

Half  the  power  of  his  compositions  was  in  the 
descriptive  matter  which  accompanied  them,  for 
Nast  was  not  only  a draughtsman:  he  had  a literary 
conception  of  satire  that  made  his  cartoons  doubly 
strong. 

Nast’s  sturdiest  rival  of  twenty  years  ago  was 
Joseph  Keppler.  Keppler’s  success  as  a cartoonist 
was  due  to  his  quickness  in  seizing  an  idea  and  his 
trick  of  modernizing  classical  subjects  by  making  an 
up-to-date  rascal  wear  the  dress  of  some  mytholog- 
ical rogue.  His  real  debut  before  the  American 
public  was  in  1887,  when  he,  in  conjunction  with 
his  partner,  Mr.  Schwarzmann,  launched  Puck. 
Keppler  was  the  instructor  of  a number  of  extremely 


THE  ART  OF  CARICATURE  19 
clever  political  cartoonists,  including,  besides  his 
gifted  son  (whose  work  now  appears  regularly  in 
Puck),  Bernard  Gillam  and  Louis  Dalrymple. 

Bernard  Gillam  was  said  to  be  the  most  rapid  car- 
toonist in  the  country,  if  not  in  the  world.  Under 
pressure  he  has  been  known  to  produce  some  of  his 
largest  cartoons  in  three  hours. 


FIRST  CARTOON  PUBLISHED  IN  A SUNDAY  NEWS- 
PAPER ( World,  1884). 

By  Valerian  Gribayedoff. 


ELEMENTS  OF  PICTORIAL  ART 


THE  elements  of  a work  of  art  are  three- 
fold : Conception,  perception,  and  ex- 
pression. 

An  artist  must  first  conceive  his  idea  and  reason 
out  quite  thoroughly  the  best  arrangement  of  figures 
and  objects  that  will  convey  this  idea. 

To  start  work  upon  a blank  piece  of  paper  or  an 
untouched  canvas,  without  a definite  plan  of  proce- 
dure, is  to  court  failure.^ 

Once  the  conception  of  a picture  is  thoroughly 
fixed  in  the  artist’s  mind,  he  must  next  understand  by 
what  pictorial  means  his  thought  is  to  be  represented. 

A trained  artistic  worker  will  not,  as  a rule,  lay  a 
plan  for  a work  of  art  which  cannot  be  carried  out 
practically.  It  is  on  this  point,  by  the  way,  that 
many  amateurs  make  a vital  error.  They  assume 
that  with  technical  training  they  could  produce 
many  pictures  which  they  think  they  have  carefully 
reasoned  out — which  they  can  “ see  clearly  in  their 
mind’s  eye.” 


20 


21 


THE  ART  OF  CARICATURE 

As  a matter  of  fact,  however,  most  of  these  imag- 
inary pictures  would  be  found  to  be  impossible  to 
execute.  To  give  up  the  habit  of  planning  work 
which  he  has  not  the  knowledge  to  carry  to  a conclu- 
sion cannot  be  too  strongly  urged  upon  the  student. 

Perception,  or  eye-training,  is  the  first  step  toward 
gaining  a power  of  expression,  for  one  who  cannot 
see  properly  can  never  record  truthfully. 

Many  people  go  through  life,  eyes  open,  yet  never 
seeing  any  object  in  a real  sense  of  the  word.  We 
who  live  in  the  city  see  a policeman  daily.  Yet  how 
few  of  us  can  describe  his  badge,  the  buttons  on  his 
coat,  the  shape  of  his  hat,  or  the  emblem  on  the  front 
of  it,  how  his  club  is  attached  to  his  belt,  etc. 

As  a test  the  student  might  try  to  draw  some  very 
simple  familiar  object,  such  as  a lamp-post,  from 
memory.  After  achieving  the  best  result  that  is  pos- 
sible the  drawing  should  be  compared  to  a lamp-post. 
This  comparison  will  serve  as  a striking  lesson,  and 
will  prove  how  carelessly  an  untrained  eye  observes 
the  forms  of  familiar  objects. 

The  surest  and  quickest  way  to  become  familiar 
with  the  form  of  an  object  is  to  reproduce  it  by  plastic 
or  pictorial  means.  A blacksmith,  who  is  continually 
welding  horseshoes,  could,  without  appreciable  train- 


22  THE  ART  OF  CARICATURE 

ing,  model  a correct  horseshoe  in  clay,  carve  it  in 

wood,  or  draw  it  on  paper. 

It  will,  therefore,  be  readily  comprehended  that 
the  technical  side  of  art^-the  mere  manual  dexterity 
— is  distinctly  secondary  to  a trained  comprehension 
of  form.  When  one  becomes  as  familiar  with  the 
shape  of  a human  head,  for  instance,  as  a blacksmith 
is  with  the  shape  of  a horseshoe,  then,  and  then 
only,  can  he  draw  it  from  memory  with  facility  and 
truth. 

The  Japanese  method  of  studying  nature  for  plas- 
tic and  pictorial  reproduction  is  essentially  different 
from  that  of  Western  artists,  and  a consideration  of 
the  method  by  which  these  Oriental  workers  proceed 
may  not  be  out  of  place  here. 

The  Japanese  draughtsman  or  modeler  sits  before 
nature  with  none  of  the  tools  of  his  craft  at  hand. 
He  studies  an  object  or  scene  for  hours,  days,  or 
weeks  without  attempting  to  reproduce  it  at  the  time. 
He  lets  the  facts  of  nature  sink  into  his  brain  until  he 
is  absolutely  familiar  with  the  thing  he  intends  to 
draw  or  model.  He  thus*  divides  the  processes  of 
seeing  (perception)  and  recording  (expression)  into 
two  distinct  operations. 

The  Western  artist  or  artisan,  on  the  other  hand, 


FACE  : IN  THE  MOON.. 

JAPANESE  MEMORY  DRAWING. 


24  THE  ART  OF  CARICATURE 

records  with  nature  in  front  of  him  as  a guide,  or,  at 
least,  gets  his  preliminary  schooling  in  that  way. 

Many  master  craftsmen  of  the  West  work,  to  a 
certain  extent,  in  the  Japanese  method,  for  (while 
they  have  the  model  or  scene  at  all  times  in  front  of 
them)  they  spend  the  largest  percentage  of  time  and 
effort  in  observing. 

A good  painter  merely  glances  at  his  canvas  long 
enough  to  make  an  instantaneous  record  of  what  it 
may  have  taken  him  many  minutes  to  observe  and 
study.  Thus  the  seemingly  ill-considered  strokes  on 
a broadly  painted  canvas  are  every  one  the  result  of 
careful  thought  and  analysis.  To  study  in  this  way 
from  nature  is  to  lay  the  best  possible  foundation  for 
drawing  from  memory — the  necessary  accomplish- 
ment of  every  caricaturist. 

Impressionism  has  had  the  greatest  influence  upon 
modern  art;  even  comic  art  has  been  distinctly  af- 
fected by  it.  Impressionism  is  not,  as  is  commonly 
supposed,  merely  “ rough  ” painting  or  drawing.  An 
“ impression  ” of  a scene  or  object  is  a record  of  such 
parts  as  the  eye  and  mind  grasp  at  a first  comprehen- 
sive glance. 

For  instance,  when  one  stands  at  a sufficient  dis- 
tance from  a full-length  figure  to  easily  command  it 


WOULD  YOU  GENTLEMEN  LIKE  TO  LOOK  AT  THE  OLD  CHURCH  ? ” 
HO,  YUS  ! we’re  NUTS  ON  OLD  CHURCHES.” 

C Punch .) 

AN  IMPRESSION,  OR  SHORTHAND  NOTE  FROM 
NATURE. 


26  THE  ART  OF  CARICATURE 
with  the  eyes  from  head  to  foot,  it  is  impossible  to 
note  both  the  high  light  on  the  forehead  and  the  high 
lights  on  the  tops  of  the  shoes. 

No  minute  details  of  this  figure  can  be  seen  in  one 
glance  or  sweeping  impression.  If  the  observer 
focuses  his  gaze  upon  the  eyes  of  the  figure,  even  the 
minute  markings  of  the  iris  may  be  noted  clearly. 
But  while  this  much  is  gained  in  the  observation  of 
detail  in  this  particular  part,  it  will  be  found  that  the 
details  of  the  lower  portion  of  the  figure  lose  in 
sharpness,  or  cannot  be  observed  at  all.  Thus  a full- 
length  figure,  when  painted  minutely,  does  not  repre- 
sent the  actual  message  which  that  figure  conveyed 
to  the  artist’s  eye. 

An  impression,  or  what  may  be  termed  a short- 
hand note  from  nature,  is  better  art  and  more  truth- 
ful than  the  most  highly  finished  “ realism.”  A pho- 
tograph is  less  true,  pictorially,  than  a clever,  simpli- 
fied sketch.  The  former  is  a mere  map,  showing  dis- 
tinctly where  each  part  of  an  object  or  scene  is  located 
and  the  shape  and  tone  of  that  part;  the  sketch  is  a 
nearer  approach  to  what  the  eye  actually  sees. 

A cartoonist  must  thoroughly  assimilate  these  facts 
before  he  can  become  a master  worker.  The  best 
cartoon  that  was  ever  conceived  would  lose  infinitely 


THE  ART  OF  CARICATURE  27 
in  force  and  truth  if  the  figures  and  accessories  in  it 
were  photographed  directly  from  nature  instead  of 
being  rendered  in  short-hand  lines  and  tones  by  a 
skilled  artist.  What  to  leave  out,  what  to  empha- 
size, are  factors  of  the  utmost  importance  in  the 
making  of  a successful  picture. 

Expression,  or  the  means  by  which  an  artist  puts 
his  thoughts  into  tangible  form,  is  usually  called 
technique.  After  the  eye  has  seen  and  the  brain 
comprehended  and  memorized  certain  forms  and 
tones,  these  facts  must  be  suggested  on  a flat  surface 
by  an  arrangement  of  shades,  lines,  or  colors  in  order 
that  others  may  comprehend  the  effect  as  it  originally 
presented  itself  to  the  artist. 


NATURE  DRAWING 


, real  knowledge  of  drawing  the  human 


amount  of  copying  anatomical  plates,  or  even  the 
work  of  masters,  can  ever  take  the  place  of  working 
face  to  face  with  nature. 

When  one  looks  at  a drawing  on  a flat  surface  he 
merely  sees  one  side  of  an  object  and  the  stereoscopic 
effect  is  entirely  lost.  To  really  know  an  object 
and  to  make  it  convincing  to  others  an  artist  must 
have  a thorough  realization  of  its  roundness ; he  must 
know  what  is  on  the  side  that  is  turned  away  from  the 
eyes,  even  though  it  does  not  appear  in  his  picture. 

A muscle  that  disappears  around  the  silhouette  of 
a limb,  a fold  that  starts  at  an  unseen  point,  must  be 
thoroughly  understood  in  their  hidden  parts  if  they 
are  to  be  represented  convincingly  in  a picture.  A 
finished  study  of  a figure  is  not  a mere  outline  bound- 
ing a mass  of  what  is  ignorantly  termed  “ shading,” 
but  is  a mass  of  planes. 


figure  must  be  based  on  preliminary  study 
done  directly  from  the  living  model.  No 


28 


I 


THE  ART  OF  CARICATURE  29 


Planes  are  the  surfaces  of  different  shapes  and  di- 
mensions which  form  the  contour  of  any  given  object. 


IKE  COONS— “WE  NEBJ3ER  DID  CARE  FO’  CHICK’NS  NOHOW.  WE’SE 


REFORMERS,  WE  IS.” 


{Judge.) 


A DRAWING  SHOWING  PLANES  WITH  UNUSUAL 
CLEARNESS. 


A cut  diamond,  for  instance,  is  a mass  of  triangular 
planes,  while  a packing  case  presents  square  or  rectan- 
gular planes. 


30  THE  ART  OF  CARICATURE 

Probably  the  most  effective  way  to  realize  the 
planes  of  which  any  object  is  composed  is  to  model 
that  object  in  clay  or  modeling  wax.  A student 
whose  knowledge  of  form  has  been  gained  by  model- 
ing will  never  make  the  mistake  of  thinking  of  planes 
as  “ shading  ” when  he  works  on  a flat  surface.  He 
will  strive  for  planes  in  his  draughtsmanship  quite  as 
much  as  he  does  with  his  clay  or  wax.  He  will 
realize  that  the  silhouette  a figure  presents  to  the  eye 
is  not  its  only  boundary;  that  the  figure  shows  an 
infinite  number  of  silhouettes  according  to  the  point 
of  view  from  which  it  is  observed.  He  will  also 
realize  that  the  shape  and  size  of  many  of  the  planes 
inside  the  silhouette  are  quite  as  important  as  the 
silhouette  itself. 

Drawing  upon  a flat  surface  presents  an  important 
problem  with  which  the  modeler  need  not  concern 
himself.  The  draughtsman  must  reckon  with  color; 
for,  even  though  an  object  is  reduced  to  black  and 
white,  the  differences  of  color  must  be  taken  into 
account. 

A man  in  a black  suit,  with  white  linen,  brown  hair, 
and  the  usual  wonderful  variety  of  flesh  tones,  would 
show  no  differences  of  color  if  reproduced  in  a clay  or 
wax  statue. 


THE  ART  OF  CARICATURE  31 
These  differences  are  termed  color  values,  and  must 
always  be  considered  in  a drawing  showing  light  and 


“ TWO  RESPECTABLE  GENTS  ON  ME  BOND  FOR  GOOD  BEHAVIOR.” 

(New  York  Herald .) 

COLOR  VALUES  ARE  SHOWN  IN  THE  VARIOUS 
GARMENTS,  ETC. 

shade.  A black  coat,  for  example,  must  not  only  be 
treated  in  such  a way,  as  to  clearly  bring  out  its 
planes,  but  must  show  distinctly  that  it  is  black. 


j2  THE  ART  OF  CARICATURE 

Cast  shadows  affect  planes  and  color  values  in  a 
drawing,  while  a modeler,  of  course,  cannot  take  them 
into  account.  They  do  not  affect  the  planes  or  color, 
as  such,  but  often  greatly  modify  their  appearance 
and  should  always  be  introduced  in  such  a way  as  to 
strengthen  the  truthfulness  of  the  planes  and  color 
values  instead  of  mixing  with  them,  thereby  confusing 
the  eye  and  making  an  unconvincing  drawing. 

Upon  the  preliminary  sketch  the  ultimate  truth  of  a 
figure  drawing  largely  depends.  An  eye  may  be 
beautifully  drawn  or  a limb  exquisitely  modeled,  but 
if  they  are  not  placed  in  proper  relation  to  each  other 
the  effect  of  truthfulness  is  lost. 

The  large  movement  or  swing  of  a figure — the 
action,  as  it  is  termed — must  always  be  indicated  be- 
fore detail  is  attempted.  A few  long  sweeping 
strokes  are  often  all  that  is  necessary  to  show  the 
action;  but  these  strokes,  no  matter  how  simple, 
should  always  be  based  on  accurate  comparisons  and 
measurements. 

The  largest  masses  should  invariably  be  placed 
first,  and  these,  in  turn,  should  be  followed  by  those 
next  in  size.  This  process  should  be  continued  until 
the  subtlest  facts  are  reached. 

Sculptors  customarily  measure  by  means  of  a large 


TAKE  OFF  THAT  COAT  ! ” 


(. Denver  Republican.') 


CAST  SHADOW  AFFECTING  THE  COLOR  VALUES 
OF  THE  FENCE  AND  GROUND. 


34  THE  ART  OF  CARICATURE 
compass,  but  this  course  would  be  impracticable  for 
an  artist  working  on  a flat  surface,  as  it  is  usually 
necessary  for  him  to  sit  at  a considerable  distance 
from  a scene,  figure,  or  object.  It  has,  therefore, 
become  a practice  to  obtain  comparative  measure- 
ments by  means  of  a pencil,  used  as  a gauge  and  held 


DIAGRAM,  SHOWING  METHOD  OF  OBTAINING  COM- 
PARATIVE MEASUREMENTS  BY  USING  A LEAD- 
PENCIL  AS  A GAUGE. 


as  far  away  from  the  eye  as  the  arm  will  permit.  By 
holding  this  pencil  parallel  to  himself,  and  using  his 
thumb  as  a sliding  guide  on  it,  the  draughtsman  can 
accurately  compare  the  measurements  of  any  object. 

No  matter  how  fully  draped  a figure  may  be,  there 
is  invariably  a suggestion  of  the  anatomy  beneath; 
this  suggestion  should  be  clearly  evident  in  a draw- 
ing. Measurements  should  therefore  be  made  of  the 
principal  points  of  the  anatomy  in  preference  to  the 


AN  EXCELLENT  EXAMPLE  OF  ANATOMICAL  SUGGESTION  ; NOTE  THE  WOMAN’S 

FIGURE  ESPECIALLY. 


36  THE  ART  OF  CARICATURE 
principal  points  of  the  drapery;  for,  while  the 
drapery  continuously  changes  as  the  model  rests,  or 
breathes  even,  the  anatomical  measurements  are 
always  the  same. 

It  should,  of  course,  be  borne  in  mind  that  cari- 
caturists seldom  use  models,  and  these  remarks  are 
intended  entirely  for  the  guidance  of  those  who  are 
endeavoring  to  obtain  a substantial  preliminary 
training. 

As  undraped  figures  are  seldom  shown  in  cartoons, 
a knowledge  of  the  manner  in  which  different  sorts 
of  drapery  fall,  and  of  the  different  aspects  hats, 
shoes,  gloves,  and  other  objects  of  wearing  apparel 
is  extremely  necessary.  Therefore  drapery  of  any 
sort  should  be  continuously  studied  from  nature. 
Special  attention  should  be  paid  to  the  way  a coat 
wrinkles  at  the  elbows  and  to  the  manner  in  which 
trousers  wrinkle  at  the  knees.  The  way  women’s 
skirts  hang  and  the  drapery  of  their  waists  disposes 
itself  should  also  be  carefully  gone  into. 

Shoes,  both  on  and  off  the  feet,  should  be  sketched 
in  every  possible  position,  and  hats  must  also  claim 
a share  of  the  student’s  earnest  attention.  The 
curved  rims  of  stiff  hats  are  particularly  difficult  to 
draw;  indeed  du  Maurier,  the  English  illustrator, 


THE  ART  OF  CARICATURE  37 
once  remarked:  “Perhaps  Michael  Angelo  could 
have  drawn  a modern  hat  brim,  but  I cannot.” 

Lest  it  be  thought  that  undue  stress  has  been  laid 
here  upon  drawing  the  human  figure,  it  should  be  ex- 
plained that  figure  drawing  is  the  basis  of  all  art 


TRAMP— “ WHAT  DOKS  YOUR  EMPLOYER  RAISE  ON  DIS  FARM?” 
FARM-IIAND — “ EVERYTHING  BUT  SALARIES.” 


(Judge.) 

THE  TRAMP  ON  THE  FENCE  SHOWS  WELL-DRAWN 
WRINKLES  AT  THE  ELBOWS  AND  KNEES. 

study,  and  he  who  masters  its  intricacies  will  find  he  is 
able  to  draw  any  object,  animate  or  inanimate,  in  the 
water,  on  the  land,  or  in  the  air. 

As  it  is  not  always  practical  for  one  who  is  study- 
ing alone  to  command  the  services  of  a model,  the 
study  of  still-life  objects,  landscapes,  and  animals 


38  THE  ART  OF  CARICATURE 

can  be  recommended,  not  only  as  a pleasing  variation, 

but  as  a necessary  part  of  a cartoonist’s  equipment. 

Familiarity  with  the  native  shrubs,  trees  and 
plants,  with  many  kinds  of  animals  (both  wild  and 
domestic),  with  architecture,  and  with  thousands  of 
objects  of  everyday  use,  is  essential.  All  of  these 
things  should  therefore  be  drawn  from  nature  re- 
peatedly, and  in  as  many  different  aspects  as  possible. 

Those  who  live  in  the  vicinity  of  large  parks,  in 
which  there  is  a zoological  collection,  have  at  hand 
a mine  of  invaluable  information  which  should  be 
worked  to  the  full  limit. 

To  study  and  retain  in  the  memory  the  shapes  of 
all  the  objects  in  use  in  an  ordinary  household  is  in 
itself  a tremendous  task  and  one  which  should  be 
undertaken  with  a full  appreciation  of  its  difficulty 
and  necessity. 

Flowers  are  not  often  used  by  cartoonists,  but  a 
knowledge  of  the  principal  ones  will  not  be  found 
amiss  at  times. 

Even  with  all  that  is  suggested  above  carefully 
memorized  and  at  his  fingers’  ends,  the  cartoonist 
will  find  himself  continually  confronted  with  new 
problems — new  objects  to  draw. 

It  is  customary  with  workers  in  black  and  white  to 


(Judged 

DRAUGHTSMANSHIP  IS  SHOWN  IN  THIS  SKETCH  BY  ZIM. 


40  THE  ART  OF  CARICATURE 
have  a complete,  alphabetically  arranged  file  at  hand 
containing  photographs  and  clippings  of  everything 
they  will  probably  be  called  upon  to  draw.  Not  the 
least  important  parts  of  these  files  are  those  devoted 
to  the  portraits  of  well-known  personages  who  are  to 
take  their  parts  in  the  pictorial  comedies  the  artist  is 
continually  devising. 

It  will  be  found  that,  as  any  face  is  constantly 
drawn  from  various  points  of  view,  the  features  im- 
press themselves  so  indelibly  upon  the  artist’s  memory 
that  further  reference  to  pictures  of  that  particular 
personage  is  no  longer  necessary;  it  will  even  be  dis- 
covered that  the  face  can  be  drawn  in  positions  in 
which  the  artist  has  never  seen  it,  and  it  is  here  that 
his  previously  gained  knowledge  of  modeling  and  his 
feeling  for  planes  will  make  themselves  strongly  felt. 

As  a sort  of  library  of  suggestions  of  facial  charac- 
teristics, the  cartoonist  should  keep  a notebook  in  his 
pocket  and  should  jot  down  in  it  accurate  outline 
memorandums  of  foreheads,  noses,  mouths,  beards, 
and  other  parts  of  the  heads  he  meets  in  his  daily 
travel. 

After  a few  months  of  such  work  he  will  find 
himself  in  possession  of  an  immense  amount  of  useful 
raw  material. 


THE  ART  OF  CARICATURE 


41 


A rather  intimate  knowledge  of  the  rules,  methods, 
and  accessories  of  various  popular  sports  will  be 


( Pittsburg  Gazetted) 

AN  AUTOMOBILE  CARTOON,  SHOWING  HOW  A 
KNOWLEDGE  OF  THE  SPORTS  OF  THE  DAY  EN- 
TERS INTO  A CARTOONISTS  EQUIPMENT. 

found  of  the  utmost  service  to  one  who  attempts  to 
interest,  by  his  pictures,  people  of  various  tastes. 
Hunting,  fishing,  shooting,  chess,  golf,  tennis,  polo, 


42  THE  ART  OF  CARICATURE 
— all  the  pastimes  of  the  public,  rich  or  poor, — play 
at  some  time  a part  in  the  cartoonist’s  work.  Of 
course  the  sport  of  the  hour  is  the  one  which  is  most 
frequently  called  into  play  by  the  picture-makers, 
and  as  automobiling  occupies  the  principal  position 
among  the  sports  of  to-day,  a thorough  knowledge  of 
the  shapes  and  action  of  the  most  common  types  of 
automobiles  should  be  obtained.  A recent  magazine 
writer  has  truly  said  that  “ the  joke-maker  and  comic 
draughtsman  have  discovered  in  automobilism  a 
veritable  Eldorado.” 

Having  now  indicated,  as  briefly  and  clearly  as 
possible  in  the  space  at  command,  the  elements  of 
drawing  from  nature,  a subject  of  the  utmost  im- 
portance to  caricaturists  will  be  considered — drawing 
from  memory. 


MEMORY  DRAWING 


TO  draw  from  memory,  or  to  “ chic  ” as  the 
French  have  it,  is  an  important  require- 
ment of  the  modern  comic  artist.  For  he 
must  not  only  be  able  to  draw  figures  very  rapidly  and 
often  crowded  together  in  a large  composition,  but  to 
put  these  figures  in  such  absurd  and  impossible  atti- 
tudes that  living  models  as  a guide  would  be  out  of 
the  question. 

Artistic  anatomy  plays  an  important  part  in  all 
memory  drawing  of  the  figure — so  important,  indeed, 
that  it  has  been  thought  necessary  to  incorporate  it  in 
a separate  chapter  in  this  work. 

A cartoonist  customarily  sits  down  to  a drawing 
board  upon  which  is  placed  a blank  drawing  surface 
which  he  must  cover  with  a convincing  picture  in  an 
almost  incredibly  rapid  time,  with  little  or  no  data 
to  work  from  except  those  furnished  by  an  exceed- 
ingly active  imagination  and  a well-stored  mind. 

To  memorize  the  ideal  measurements  and  pro- 
portions of  the  male  and  female  human  figure  should 


43 


THE  ART  OF  CARICATURE 


44 

be  the  student’s  earnest  endeavor,  and,  with  this  end 
in  view,  the  essentials  of  the  various  tables  that 
have  been  constructed  for  this  purpose  are  presented 
here. 

The  ideal  male  figure  is  eight  heads  high,  which 
means  eight  skulls — the  dimensions  being  based 
on  the  length  of  the  skull  without  its  covering  of 
hair. 

From  the  top  of  the  skull,  therefore,  to  the  chin 
may  be  considered  as  one  skull,  the  unit  of  measure- 
ment by  this  system.  From  the  chin  to  the  top  of 
the  breastbone  is  one-half  a head  and  the  length  of  the 
breastbone  has  a like  measurement.  From  thence  to 
just  above  the  navel  is  one  head;  thence  to  the  com- 
mencement of  the  lower  limbs  one  head;  thence  to  the 
middle  of  the  thigh  one  head;  thence  to  the  bottom 
of  the  knee  one  head;  thence  to  the  small  of  the  ankle 
one  and  one-half  heads;  thence  to  the  sole  of  the  foot 
half  a head. 

When  the  arms  hang  limply  at  the  side,  with  the 
fingers  fully  extended,  they  reach  to  the  center  of  the 
thigh.  Extending  the  arms  at  right  angles  forms  a 
line,  from  finger  tips  to  finger  tips,  equal  to  the  length 
of  the  figure.  The  neck  is  half  a head  wide,  the 
shoulders  two  heads  wide,  under  the  armpits  one  and 


IDEAL  MALE  FIGURE,  EIGHT  HEADS  HIGH. 


46  THE  ART  OF  CARICATURE 
one-half  heads  wide,  across  the  waist  one  head  and  a 
quarter  wide,  the  top  of  the  thigh  three-quarters  of 
a head  wide,  the  knee  half  a head  wide.  The  calf 
is  two  noses  and  a half  across,  the  ankle  one  nose 
across.  The  hand  is  three-quarters  of  the  head  in 
length.  The  foot,  according  to  the  ancients,  is  one- 
sixth  of  the  length  of  the  figure. 

Tall  and  short  men  vary  in  proportion  according 
to  their  height. 

As  a rule,  the  divisions  of  the  male  figure  hold 
good  in  the  female  figure  as  to  length,  though  the 
widths  of  the  various  parts  differ  greatly.  The  neck 
is  half  a head  wide,  the  shoulders  one  head  and  a 
half  wide,  the  waist  one  head  and  one-eighth  wide, 
across  the  hips  two  heads  wide,  the  middle  of  the 
thigh  three-quarters  of  a head  wTide.  Across  the  top 
of  the  knee  is  two  noses  and  a quarter,  across  the 
bottom  of  the  knee  half  a face,  across  the  calf  two 
noses  and  a quarter,  across  the  smallest  part  of  the 
ankle  one  nose;  across  the  instep,  in  its  thickest  part, 
is  one-third  of  its  length. 

Most  modern  feet  are  so  distorted  by  the  shoe- 
wearing  habit  that  they  have  lost  much  of  their 
natural  shape  and  action.  Peoples  who  wear  no  shoes 
can,  as  a rule,  use  the  feet  with  something  of  the 


THE  ART  OF  CARICATURE  47 
facility  of  the  hands.  Feet  have  much  the  same  con- 
struction as  hands  and  for  this  reason  can,  when  un- 
hampered by  artificial  means,  take  their  place  to  a 
great  extent. 

Generally  speaking,  women  are  not  so  tall  as  men, 
their  necks  being  a trifle  longer  and  set  further  back 
on  the  trunk.  Their  muscular  development  does  not 
show  so  plainly  through  the  skin  as  that  of  men. 
The  general  contour  of  their  bodies  is,  therefore, 
more  flowing  and  graceful. 

The  brain  of  an  infant  is  larger  in  proportion  than 
the  brain  of  an  adult,  and  the  covering  of  fat  on  the 
body,  limbs,  and  cheeks  is  very  marked. 

In  aged  persons  the  body  becomes  angular  and  the 
pleasing  lines  of  youth  disappear.  To  the  artist, 
however,  old  age  has  its  peculiar  charm — every 
period  of  life,  indeed,  is  pictorially  interesting.  Each 
age  suggests  to  the  imagination  certain  ideas,  and  the 
caricaturist  should  duly  appreciate  and  make  use  of 
this  fact. 

In  infants  the  middle  of  the  figure  is  situated  at 
the  navel.  Children  of  three  years  average  five 
heads  in  height,  three  of  which  may  be  allowed  for 
the  upper  part  of  the  figure.  Children  of  six  years 
are  usually  six  heads  high,  their  arms  and  legs  be- 


48  THE  ART  OF  CARICATURE 

coming  noticeably  thinner  at  this  period.  A youth 
of  sixteen  is  about  seven  heads  high,  and  at  this  age 
the  figure  divides  itself,  for  the  first  time,  into  two 
equal  proportions : one  for  the  body  and  one  for  the 
lower  limbs. 

The  ideal  human  head  is,  speaking  in  a large  way, 
of  an  oval  or  egg  shape,  with  the  smaller  end  of  the 
egg  downward.  This  egg  is  divided  into  four  equal 
horizontal  parts.  The  upper  quarter  extends  from 
the  top  of  the  head  to  the  dividing  line  between  the 
hair  and  the  forehead.  The  second  quarter  reaches 
to  the  eyebrows.  From  thence  to  the  nostrils  is  the 
third  division.  The  fourth  division  extends  to  the 
bottom  of  the  chin.  The  ears  are  exactly  the  same 
length  as  the  nose  and  occupy  the  space  between  the 
second  and  third  divisions.  The  fourth,  or  lowest, 
division  contains  the  mouth.  The  dividing  line  be- 
tween the  lips  is  one-fourth  downward  on  the  lowest 
division.  The  top  of  the  chin  is  exactly  in  the  middle 
of  this  division. 

Dividing  the  egg  into  eight  perpendicular  divisions 
of  equal  width,  we  find  that  the  center  line  bisects  the 
nose  and  mouth;  that  the  pupils  of  the  eye  are  in 
each  case  on  the  third  space  from  either  side;  that  the 
mouth  occupies  the  two  center  spaces;  that  the  eye- 


BY  THE  DRAUGHTSMAN. 


50  THE  ART  OF  CARICATURE 
brows  commence  at  the  second  space  from  either  side 
and  extend  to  the  middle  of  each  of  the  two  center 
spaces. 

It  will  be  excellent  practice,  and  will  serve  to  im- 
press the  above  truths  on  the  mind,  to  take  an  egg 
and  draw  the  divisions  upon  it  with  pencil,  placing  an 
outline  of  the  features  in  the  proper  places.  By 
holding  the  egg  at  different  angles,  the  eye  will  in- 
stinctively grasp  and  the  brain  readily  comprehend 
the  effect  of  the  natural  subdivision  of  the  human 
head  when  seen  in  the  perspective,  or  foreshortened, 
as  it  is  termed.  The  diagrams  given  here  serve  to 
bring  out  this  idea  quite  clearly.  Of  course,  when 
one  looks  at  an  exact  side  view  of  a head  thus 
sketched  upon  an  egg,  the  profile  will  be  missing,  and, 
owing  to  the  lengthening  of  the  skull  at  the  back,  the 
egg  form  must  be  varied  from  and  added  to,  to  pro- 
duce the  effect  of  reality.  The  horizontal  divisions, 
however,  hold  good  for  the  side  view. 

By  tipping  the  egg  slightly  toward  the  eye  or  away 
from  it  it  will  be  noticed  that  the  foreshortening  is 
somewhat  increased,  and  in  order  to  approximate 
nature,  a drawing  made  from  it  would  have  to  take 
into  account  the  changed  appearance  of  the  features 
owing  to  the  different  point  of  view.  For  instance, 


THE  HANDS  IN  DIFFERENT  POSITIONS. 


52  THE  ART  OF  CARICATURE 
when  the  top  of  a side-view  head  is  tipped  slightly 
away  from  the  eye,  more  of  the  upper  lip  than  the 
lower  will  be  seen;  one  can  look  into  the  nostrils, 
under  the  lid  of  the  eye,  and  under  the  arch  of  the 
eyebrow.  On  the  other  hand,  in  the  same  view  with 
the  top  of  the  head  tipped  slightly  toward  the  eye, 
less  of  the  upper  lip  than  the  lower  will  be  observed, 
the  opening  of  the  nostrils  will  not  be  seen,  and  the 
pupil  of  the  eye  will  be  partially  hidden  by  the  lid 
above  it. 

By  a reasonable  amount  of  practice,  as  outlined 
above,  the  construction  of  the  ideal  human  head  can 
be  so  firmly  fixed  in  the  mind  that  it  will  be  found  a 
comparatively  easy  matter  to  produce  variations  from 
the  standard  met  with  in  everyday  life.  Thus,  the 
cartoonist’s  typical  Yankee  face  has  these  standard 
measurements  as  a basis,  but  is  thinner  and  lanker. 
The  average  comic  artist’s  conception  of  a German 
face  is  to  change  this  ideal  form  by  making  it  broader 
and  adding  such  facial  gardening  in  the  way  of 
whiskers  as  his  fancy  may  suggest. 

For  ages  the  standards  of  beauty  of  face  and  form 
established  by  the  Greeks  have  been  recognized  as 
correct.  The  artist  who  draws  from  memory  should 
familiarize  himself  with  these  standards,  for  he  must 


THE  IDEAL  EYE,  EAR,  NOS-E  AND  MOUTH. 


54  THE  ART  OF  CARICATURE 
have  some  standard  of  comparison,  no  matter  how 
grotesque  the  effect  he  aims  for. 

It  is  of  course  unnecessary  to  dwell  upon  the  fact 
that  no  rule,  however  well  made,  will  cover  the  end- 
less national  and  individual  characteristics  of  the 
human  form  that  one  may  observe,  either  in  pictures 
or  in  life;  but  by  continued  reference  to  an  ideal  it 
will  be  found  easier  to  draw  a human  figure  of  any 
proportions,  whether  it  be  a giant  of  Patagonia  or  a 
pygmy  of  Africa. 

A sense  of  the  facial  peculiarities  of  each  nation  or 
race  is  always  determined  by  the  ideal  which  every 
person  instinctively  carries  in  his  mind.  It  requires 
more  careful  observation,  or  a nicer  power  of  discern- 
ment, to  determine  the  differences  in  individuals  of  a 
nation  or  family;  but  even  these  often  subtle  varia- 
tions are  readily  grasped  by  the  alert  mind  and  what 
has  been  called  the  “ prehensile  eye  ” of  the  trained 
artist. 

The  only  way  to  properly  memorize  the  form  of 
an  object  is  to  reproduce  it  by  drawing  or  modeling 
until  its  contour  and  construction  are  firmly  fixed  in 
the  mind. 

The  action  or  general  movements  of  the  body  must 
always  be  grasped  before  a realistic  memory  drawing 


THE  ART  OF  CARICATURE 


55 


can  be  made.  The  simplest  way  to  understand  the 
action  is  to  reduce  it  to  the  movements  of  the  skeleton, 
and  for  the  purpose  of  study  one  may  still  further 
simplify  matters  by  reducing  the  skeleton  to  a few 
simple  strokes  which  suggest  it. 

To  place  five  dots  on  a piece  of  paper  in  any 
imaginable  combination,  and  to  draw  a skeletonized 
figure  to  conform  to  the  five  dots  (letting  each  ex- 
tremity touch  one  dot),  will  be  found  excellent 
practice. 


ARTISTIC  ANATOMY 


A RTISTIC  anatomy  takes  into  considera- 

/ ^ tion  those  parts  of  the  human  body 

Y ^ which  are  visible  to  the  eye,  or  which 
affect  by  their  form  or  action  these  visible  exterior 
parts. 

The  basic,  bony  structure  of  the  human  frame  is 
covered,  at  the  points  particularly,  by  a strong  en- 
velope entitled  Periosteum.  This,  in  turn,  is  covered 
by  the  muscles,  which  are  placed  in  layers  and  thinly 
inclosed  by  their  own  special  envelope. 

The  muscles  are  formed  by  fleshy  fibers  and  sinewy 
parts  running  in  various  directions,  according  to  their 
particular  uses. 

These  component  parts  of  the  figure  are  covered 
by  the  membrane  commonly  termed  the  skin. 

The  actions  of  the  principal  muscles  can  be  plainly 
seen  through  this  elastic  covering.  There  is  a com- 
mon tendency  among  artists  to  over-accentuate  this 
easily  observed  play  of  the  muscles;  and,  while  an 
expert  knowledge  of  them  is  apt  to  lead  in  this  direc- 

56 


THE  ART  OF  CARICATURE  57 
tion,  it  is  distinctly  a good  fault.  A picture  of  a 
figure  in  which  the  muscles  are  somewhat  exaggerated 
carries  more  conviction  than  one  in  which  there  is  no 
suggestion  of  the  anatomical  construction  beneath  the 
skin. 

The  great  antique  statues  invariably  indicated 
with  the  utmost  clearness  the  muscular  development 
of  the  human  figure.  To  study  these  statues  care- 
fully (which  does  not  necessarily  mean  to  draw 
them)  cannot  fail  to  give  a better  understanding  of 
the  practical  application  of  a knowledge  of  artistic 
anatomy. 

The  skeleton  is  the  framework,  or  foundation,  of 
the  human  figure.  Upon  it  the  superstructure  is 
dependent.  It  regulates  the  capabilities,  power,  and 
size  of  its  owner,  and  is  strong  enough  to  suspend  and 
hold  the  remaining  portions  of  the  body  in  any  neces- 
sary position. 

The  skeleton  is  composed  of  about  two  hundred 
parts,  which  need  not  be  named  in  detail  in  a work  of 
this  character.  Some  of  these  bones,  when  viewed  in 
cross-sections,  are  triangular,  some  four-sided,  and 
others  round;  still  others  show  all  of  these  forms 
combined  in  their  different  parts  to  meet  special  re- 
quirements. 


58  THE  ART  OF  CARICATURE 

Broadly  speaking,  there  are  three  sorts  of  bones 
in  the  human  figure : short,  long,  and  broad. 

The  entire  mass  of  the  bony  structure  may  be 
broadly  divided  into  the  extremities  and  the  trunk. 
With  the  trunk  are  included  the  head,  the  ribs,  the 
breastbone,  the  backbone,  and  the  bones  of  the  hips. 

The  arms  are  known  as  the  superior  extremities 
and  the  legs  as  the  inferior  extremities. 

The  skull,  or  bony  portion  of  the  head,  is  sub- 
divided into  the  cranium  and  the  face. 

There  are  twenty-four  bones  in  the  backbone,  or 
vertebral  column;  seven  of  these  are  in  the  neck, 
twelve  in  the  back  or  ribs,  and  five  in  the  loins.  An 
average  spine  or  backbone  is  from  two  feet  four 
inches  to  two  feet  eight  inches  long,  without  taking 
its  base  into  consideration.  When  seen  from  the 
side,  it  is  greatly  curved  in  form : concave  at  the  neck, 
convex  at  the  back,  and  slightly  concave  at  the  loins. 
Viewed  from  the  front  or  rear,  its  tendency  is  to 
slant  toward  the  left  with  a slight  curve;  the  purpose 
of  this  slant  is  not  known.  The  entire  column  is 
flexible,  owing  to  cartilage  discs  between  the  bony 
section;  these  discs  are  elastic  enough  to  permit  the 
spine  to  move  in  various  directions  without  injuring 
what  is  known  as  the  spinal  marrow,  which  extends 


m^vA/rvVJ 


THE  HUMAN  SKELETON. 


60  THE  ART  OF  CARICATURE 

almost  throughout  the  length  of  the  column.  The 
spine-  moves  principally  at  the  neck  and  loins. 

The  general  bearing  of  the  figure  depends,  to  a 
great  extent,  upon  the  curve  of  the  spinal  column. 
The  ribs  are  attached  to  either  side  of  this  column 
and  are  twenty-four  in  number.  They  consist  of 
bone  and  cartilage.  The  seven  upper  ribs  on  each 
side  are  termed  true  ribs;  the  others  are  called  false 
ribs  and  are  not  attached,  like  the  true  ribs,  to  the 
breastbone.  The  general  inclination  of  the  false 
ribs  is  downward  from  the  back.  The  ribs  form  a 
basket-like  shape  incasing  all  the  vital  organs  and 
forming  a basis  for  a fleshy  covering  which,  differing 
in  a marked  way  from  the  general  contour  of  the  ribs, 
is  distinctly  affected  in  form  by  them. 

The  breastbone  is  in  the  front  and  center  of  the 
chest.  In  infancy  the  breastbone  consists  of  several 
sections  which  gradually  acquire  solidity  with  advanc- 
ing age  until,  in  an  adult,  they  are  practically  a single 
bone.  The  general  inclination  of  the  breastbone  is 
forward  and  downward,  this  angle  being  affected 
considerably  by  climatic  or  racial  causes  and,  in  an 
individual,  by  his  daily  occupation  or  habits.  From 
twenty  to  twenty-five  degrees  is  the  angle  for  the 
breastbone  which  has  generally  been  conceded  to  be 


THE  ART  OF  CARICATURE  61 

the  average  or  normal  one  in  the  male.  In  the  fe- 
male this  angle  is  somewhat  greater. 

The  female  neck,  in  its  bony  portion,  is  consider- 
ably straighter  than  the  male. 

The  collar  bones  are  attached  to  the  upper  end  of 
the  breastbone;  from  the  breastbone  they  curve  out- 
ward and,  toward  their  outer  ends,  reverse  their 
direction.  They  are  more  pronounced  in  men  than 
in  women.  Their  union  with  the  breastbone  leaves 
a small  hollow  commonly  called  the  pit  of  the 
neck. 

The  large,  strongly  constructed  bones  forming  the 
cavity  occupying  the  center  of  the  osseous  structure  of 
the  human  figure  is  called  the  pelvis.  The  pelvis 
presents  a curved  bony  wall  projecting  itself  down- 
ward and  forward,  and  at  its  top  is  a strong,  curved 
edge  to  which  powerful  muscles  are  attached.  This 
part  of  the  figure  is  larger  and  roomier  in  the  female 
than  in  the  male  and  its  shape  considerably  different. 

The  arms  are  attached  to  the  shoulder  blades  by 
powerful  ligaments.  The  upper  part  of  the  arm 
contains  one  long  bone,  partly  round  and  growing 
larger  at  the  top  to  form  a rounded  cap  or  head,  and 
several  protuberances  which  are  covered  bv  cartilage 
and  fit  snugly  into  a suitable  space  in  the  blade  bone, 


62  THE  ART  OF  CARICATURE 
which  is  also  lined  with  cartilage.  The  lower  end 
of  this  bone  is  also  enlarged  and,  by  a beautiful  and 
delicate  arrangement,  is  fitted  to  the  twin  bones  of  the 
forearm  in  such  a manner  as  to  allow  one  to  turn 
over  the  other,  thus  permitting  the  hand  to  twist  in 
either  direction. 

The  various  bones  of  the  wrist  are  attached 
directly  to  the  two  bones  of  the  forearm;  these  are 
succeeded  in  turn  by  the  bony  portions  of  the  back 
and  palm  of  the  hand.  To  these  latter  bones  are  at- 
tached the  finger  joints. 

The  legs  contain  bones  similar  in  arrangement  and 
number  to  those  of  the  arm,  though  different  in  shape 
to  fit  them  to  their  particular  uses.  The  thigh  bone 
is,  in  similar  manner  to  the  bone  of  the  upper  arm, 
partly  round.  It  is  also  topped  with  a round  head  or 
cap  which  fits  into  a suitable  cavity  and  forms  a ball- 
and-socket  joint  of  great  power.  Like  the  bone  of 
the  upper  arm  again,  it  has  at  its  top,  in  addition  to  a 
globular  head,  certain  protuberances  the  largest  one 
of  which  serves  as  a point  of  attachment  for  im- 
portant muscles.  The  lower  end  of  the  thigh  bone 
broadens  to  form  two  parts  to  which  the  principal 
bone  of  the  leg  is  attached  in  a hinge-like  manner. 
Like  the  juncture  of  the  wrist  bones  to  the  lower  part 


THE  ART  OF  CARICATURE  63 
of  the  arm,  the  bony  parts  of  the  ankle  and  instep 
join  the  bones  of  the  lower  leg  and  toes. 

To  one  who  would  become  an  expert  draughtsman 
of  the  figure,  practice  in  drawing  the  skeleton  will  be 


HUMAN  SKULL. 


found  an  important  aid;  for  the  action,  or  general 
swing  and  direction  of  a figure  (whether  at  rest  or  in 
motion)  is  always  determined  by  the  unseen  skeleton. 

From  the  standpoint  of  the  anatomist  the  skull 
consists  of  two  parts:  the  cranium  and  face.  As  the 
forehead  is  usually  considered  a part  of  the  face — - 


64  THE  ART  OF  CARICATURE 
particularly  in  art — the  student  may,  for  convenience 
sake,  consider  these  as  one. 

Draughtsmen  take  the  Caucasian,  or  European, 
as  a standard  of  comparison,  and  the  plate  shown  in 
this  work  relating  to  this  subject  is  made  in  accord- 
ance with  this  standard.  The  skull  is  composed  of 
several  bones,  most  of  which  are  separated  by  ir- 
regular saw-like  lines  dovetailing  into  each  other. 
Some  of  the  interior  bones  of  the  skull  are  not  neces- 
sary for  the  artist  to  consider. 

The  bones  of  the  forehead  vary  greatly  in  races 
and  individuals.  With  the  European  head  as  a 
standard  of  comparison,  it  may  be  set  down  as  a 
fixed  rule  that  the  forehead  is  as  long  as  the  nose. 
The  spherical  shape  of  the  cranium,  or  upper  part  of 
the  head,  is  not  materially  affected  in  form  by  its  light 
covering  of  skin  and  muscle.  The  face  contains 
much  more  fleshy  covering,  in  which  the  play  of 
muscle  is  so  subtle  and  intricate  as  to  form  a problem 
more  perplexing  to  the  artist  than  any  other  part  of 
the  human  figure.  The  action  of  the  muscles  of  the 
face  is,  as  a rule,  in  an  opposite  direction  from  the 
wrinkles  or  marks  which  they  cause.  It  is  by  the 
action  of  these  muscles  (which  in  turn  are  animated 
and  controlled  by  the  brain)  that  the  various  emo- 


THE  ART  OF  CARICATURE  65 
tions  of  the  soul  are  plainly  depicted  upon  the  coun- 
tenance. For  this  reason  the  muscular  development 
of  these  parts  should  be  studied  with  most  careful  at- 
tention. In  considering  the  general  shape  of  the 
face,  due  attention  should  be  given  to  the  fact  that 
many  of  its  prominent  parts  are  caused  by  bony  pro- 
tuberances. 

It  should  be  noted  that  the  large  bone  at  the  back 
and  base  of  the  skull  projects  quite  strongly.  This  is 
particularly  noticeable  in  infants  and  bald  people. 

The  bones  just  back  of  the  ears  form  a point  of 
attachment  to  a pair  of  powerful  neck  muscles. 

The  arched  projections  over  the  eyes  are  greatly 
varied  in  shape  and  size  in  individual  cases  and  play 
a considerable  part  in  the  general  character  of  every 
face.  This  is  also  true  of  the  curved  line  at  each  side 
of  the  forehead,  just  above  the  outside  tips  of  the 
eyebrows. 

The  cheek-bone  and  jaw-bone  also  play  important 
parts  in  facial  characteristics. 

The  important  muscles  of  the  face  are  for  the  most 
part  readily  understood  and  are  all  that  are  necessary 
to  note  in  a book  of  this  character.  The  frontal 
muscle  begins  at  the  inside  upper  edge  of  the  orbit  of 
the  eye,  then  rises  obliquely  and  unites  with  a system 


66  THE  ART  OF  CARICATURE 
which  covers  the  entire  skull.  The  forehead  is 
wrinkled  by  the  action  of  this  muscle  and  many  emo- 
tions are  indicated  by  its  play.  The  temporal  muscle 
starts  at  the  top  and  side  of  the  forehead,  and 


FACIAL  AND  NECK  MUSCLES. 


descends  through  the  cheek  to  the  lower  jaw-bone, 
which  it  has  the  power  to  raise  and  press  against  the 
upper  jaw.  Another  muscle — primarily  used  as  an 
aid  to  mastication — starts  at  the  upper  jaw  and  the 
lower  front  of  the  cheek-bone.  It  descends  on  the 
outer  side  of  the  under  jaw-bone,  being  affixed  to  it 
and  reaching  nearly  to  the  end  of  the  mouth.  This 


THE  ART  OF  CARICATURE  67 
muscle  acts  in  connection  with  the  temporal  muscle, 
and  the  two  swell  and  contract  simultaneously.  The 
action  of  these  particular  muscles  is  very  noticeable 
when  the  mind  is  violently  agitated  by  passion,  pain, 
or  any  other  strong  emotion,  or  during  strenuous 
muscular  exertion.  A series  of  fleshy  fibers  circle  the 
eyes  and  operate  the  eyelids.  These  muscles  are  not 
attached  to  the  bones  upon  which  they  rest.  The 
nostrils  and  upper  lip  are  controlled  by  the  elevator 
muscle  of  the  nostril,  which  arises  in  a double  tendon 
at  the  junction  of  the  upper  jaw  and  the  base  of  the 
nose.  This  muscle  ends  in  a fan-like  shape,  spread- 
ing over  the  nostrils  and  the  upper  lip ; in  connection 
with  other  muscles,  it  forms  the  furrow  separating 
the  cheek  and  the  nostrils.  At  the  root  of  the 
nostrils,  what  is  called  the  compressor  muscle 
originates.  This  muscle  terminates  in  a membrane 
which  covers  the  entire  nose  and  reaches  well  into  the 
forehead.  It  can  wrinkle  the  skin  of  the  nose  or 
compress  the  nostrils.  Just  below  the  orb  of  the  eye 
the  elevator  muscle  of  the  upper  lip  starts,  running 
down  at  a gentle  angle  to  the  upper  lip,  which  it  has 
the  power  to  draw  outward  and  upward.  The  action 
of  this  muscle  is  evident  in  laughter  and  other  emo- 
tions. Another  muscle  acts  in  unison  at  its  outside 


68  THE  ART  OF  CARICATURE 

edge,  descending  in  a parallel  direction.  A fleshy 
muscle  is  attached  to  the  cheek-bone  and  runs  into  the 
angle  of  the  mouth.  It  can  draw  the  corner  of  the 
mouth  and  under  lip  toward  its  points  of  attachment, 
and  forms  the  prominent  ridge  shown  in  the  cheek 
of  a laughing  face.  The  facial  muscles,  thus  far 
considered,  have  for  their  function  the  upward  pull 
of  the  features.  Another  set  of  muscles  exert  a 
downward  pull  and  are  called  the  depressors.  One 
of  these  latter  originates  underneath  the  lower  jaw, 
where  it  is  quite  broad.  As  it  reaches  upward  it 
becomes  narrower,  forming  a pyramidical  shape.  At 
its  upper  end  it  curves  around  the  angles  of  the  upper 
lip  and,  in  accordance  with  its  name,  has  the  power 
of  depressing  the  corners  of  the  mouth.  The  mouth 
is  closed  by  a special  muscle,  which  is  so  interwoven 
with  its  neighbors  as  to  almost  become  a part  of 
them.  It  is  capable  of  affecting  the  face  in  various 
ways  and  can  compress  the  lips  against  the  teeth  or 
against  each  other,  and  acts  contrary  to  other  muscles 
in  controlling  laughter.  The  trumpeter,  as  its  name 
implies,  is  used  to  contract  the  lips  to  form  an  orifice, 
through  which  the  breath  may  be  blown  into  any 
wind  instrument.  Generally  speaking,  the  muscles 
of  the  face  expand  in  pleasurable  emotions,  and  con- 


THE  ART  OF  CARICATURE  69 
tract  in  violent  passions.  They  are  intimately  con- 
nected with  those  of  the  neck. 

The  forward  and  rotary  motions  are  the  most  com- 
mon actions  of  the  head.  They  principally  depend 
upon  two  of  the  neck-bones.  The  action  of  bowing 
has  its  most  important  movement  where  the  skull 
joins  the  first  vertebra  of  the  spinal  column.  The 
rotary  action,  however,  takes  place  at  the  second 
vertebra,  which  contains  a kind  of  pivot  especially 
adapted  for  this  purpose.  The  head  is  capable  of  a 
slight  movement  toward  either  shoulder,  not  exceed- 
ing a quarter  of  a circle  to  the  right  or  left.  Other 
movements  of  the  head — either  sidewise  or  slant- 
ing— are  jointly  actuated  by  the  five  other  vertebrae 
of  the  neck,  in  connection  with  the  two  previously 
alluded  to. 

The  vertebrae  of  the  neck  are  inclosed  by  a net- 
work of  various  muscles — all  in  pairs.  These 
muscles  are  capable  of  imparting  various  movements 
to  the  joints  which  they  surround.  The  two  power- 
ful and  very  prominent  muscles  at  either  side  of  the 
neck  assist  in  almost  all  its  actions,  and  are  attached 
at  the  top  behind  the  ear.  When  the  head  is  turned 
to  one  side  the  neck  wrinkles  on  that  side  and  the 
corresponding  tension  of  its  twin  muscle  takes  place 


THE  ART  OF  CARICATURE 


70 

on  the  opposite  side.  During  this  action  the  projec- 
tion which  usually  shows  quite  plainly  in  the  front  of 
a man’s  neck  (and  is  commonly  termed  Adam’s 
apple)  comes  into  much  greater  prominence.  This 
muscle  shows  very  plainly  in  aged  and  thin  persons, 
while  in  a well-formed  woman  it  is  hardly  visible. 

A flat,  broad  muscle  completely  covers  the  back  of 
the  neck,  running  down  to  a point  in  the  middle  of 
the  back.  It  is  shaped  much  like  a monk’s  cowl,  and 
its  Latin  name  is  founded  on  this  similarity.  It  sends 
out  fibers  which  radiate  in  various  directions,  the  ends 
of  these  fibers  attaching  themselves  to  the  shoulder 
blades  and  collar  bones.  It  will  be  readily  under- 
stood, owing  to  the  complex  nature  of  this  muscle  and 
its  system  of  tendonous  attachments,  that  its  actions 
are  many.  Its  principal  use  is  to  pull  the  head  down- 
ward and  backward,  in  which  instance  the  skin  of  the 
’ . J 

back  of  the  neck  takes  characteristic  folds. 

A flat,  broad  muscle  attaches  to  the  skin  of  the 
upper  part  of  the  chest,  ascends  into  the  lower  jaw- 
bone and  thence  toward  the  ear.  It  aids  in  depress- 
ing the  ends  of  the  mouth  and  a portion  of  the  cheek. 

The  shoulder-joint  demands  the  most  studious  ob- 
servation and  study  in  order  to  comprehend  its  in- 
tricate movements.  The  shoulder  blade  is  placed 


THE  ART  OF  CARICATURE  71 

against  the  head  of  the  upper  arm  .bone.  The  collar 
bone  is  attached  to  both  of  these  bones  by  powerful 
ligaments,  which  form  an  arch  under  which  the  upper 
arm  bone  hangs,  the  whole  being  incased  by  several 
muscles  which  bind  them  together.  The  bladebone 


THE  SHOULDER-JOINT. 


moves  freely  over  the  back  of  the  ribs,  and  the  collar 
bone,  being  attached  to  it,  responds  to  its  motions. 

The  head  of  the  upper  arm  bone,  having  a socket- 
joint,  can  move  in  nearly  every  direction;  the  various 
movements  affect  the  adjoining  bones  to  a certain 
extent.  For  instance,  in  raising  the  arm,  the  blade- 
bone  responds;  the  outer  edge  of  the  collar  bone  rises 
also,  moving  on  its  inner  end  as  a pivot.  In  pushing, 
striking,  or  pulling  with  the  arm,  the  bladebone  slides 


72  THE  ART  OF  CARICATURE 

over  the  ribs,  and  the  angle  of  the  collar  bone  is 

determined  by  the  violence  of  the  action. 

A muscle — triangular  in  shape,  like  the  D of  the 
Greek  alphabet  from  which  it  gets  its  name — partly 
covers  the  bones  which  form  the  shoulder-joint. 
This  muscle  is  composed  of  three  principal  masses, 
which  are  attached  as  follows: 

1.  To  the  collar  bone. 

2.  To  the  socket  of  the  upper  arm  bone. 

3.  To  the  bladebone. 

The  three  masses  of  which  this  muscle  is  composed 
incline  downward  and  form  a point,  which  is  inserted 
into  the  middle  of  the  upper  arm  bone. 

This  muscle  has  a threefold  purpose;  it  can  raise 
the  arm  sidewise,  forward,  or  backward. 

The  muscle  forming  the  breast  is  attached  to  the 
collar  bone,  to  the  inner  half  of  the  breastbone,  and 
to  several  of  the  ribs.  This  muscle  is  called  into  play 
in  the  act  of  shrugging  the  shoulders. 

What  is  called  the  mesial  line  begins  in  the  hollow 
in  the  center  of  the  collar  bones  and  proceeds  down 
the  breastbone  to  the  end  of  the  trunk.  The  muscles 
of  the  chest  cause,  by  their  prominence  on  either  side, 
a groove  which  plainly  marks  the  upper  half  of  the 
mesial  line. 


74  THE  ART  OF  CARICATURE 

A depression  of  lozenge  shape,  at  the  bottom  of 
the  breastbone,  is  the  result  of  a projection  of  carti- 
lage from  the  seventh  rib  on  either  side. 

A man’s  nipple  is  usually  at  the  fifth  rib,  or  just 
above  it. 

A continuation- of  the  mesial  line  is  caused  by  long 
straight  muscles  on  either  side  of  it,  descending  from 
the  breastbone  and  forming  the  shape  of  the  ab- 
domen. Besides  being  attached  to  the  breastbone, 
these  muscles  connect  with  the  fifth,  sixth,  and  seventh 
ribs.  In  action  they  pull  the  body  forward  and 
downward,  causing  numerous  folds  in  the  skin.  Over 
them,  at  either  side,  extend  bands  which  unite  at  their 
ends  with  the  expanding  tendons  of  a neighboring 
muscle.  These  bands  are  usually  three  in  number, 
but  are  different  in  quantity  and  position  in  every- 
body. 

Adjoining  the  muscle  just  considered,  and  descend- 
ing obliquely  in  a beautiful  curve,  is  another  im- 
portant muscle  which  joins,  at  its  lower  end,  the  pel- 
vis, and,  at  its  upper  extremities,  seven,  or  sometimes 
eight,  lower  ribs.  It  thus  forms  a regular,  slanting, 
serrated  pattern. 

Joining  this  and  fitting  into  its  saw-like  edges  is 
another  muscle  at  the  extreme  right  or  left  of  the 


MUSCULAR  DEVELOPMENT  OF  THE  UPPER  HALF 
OF  THE  FIGURE  (Front). 


76  THE  ART  OF  CARICATURE 
figure.  Its  tendons  reach  to  the  outer  sides  of  the  ten 
upper  ribs  and  to  the  bladebone. 

A very  large,  broad  muscle  of  the  back  is  one  that 
covers  the  portion  below  the  bladebone.  It  is  at- 
tached to  the  bones  of  the  spine,  from  the  sixth  rib 
downward.  From  thence  it  extends  forward  and  up- 
ward to  the  head  of  the  upper  arm  bone,  where  it 
inserts  itself  in  the  shape  of  a thin  and  very  strong 
tendon.  This  muscle  draws  the  bladebone  and  upper 
arm  backward  and  downward.  It  thus  causes  the 
bladebone  to  move  upon  the  ribs. 

Underneath  this  muscle  is  another  fleshier  one  at- 
tached to  the  pelvis,  the  angles  of  the  ribs,  and  all 
the  bones  of  the  column.  This  muscle  bends  the 
body  backward  and,  in  doing  so,  produces  many 
transverse  wrinkles. 

To  state  that  the  arm  and  hand  of  man  give  him 
powers  which  no  other  animal  possesses  is  to  put  in 
words  a self-evident  fact.  In  accordance  with  their 
important  mission  these  members  have  a wonderful 
and  delicate  mechanism.  The  human  hand  can  reach 
every  part  of  the  exterior  of  the  body,  and  it  would 
be  futile  to  attempt  to  indicate  here  the  varied  uses 
to  which  this  extremity  can  be  put,  either  alone  or  in 
connection  with  other  members.  One  radical  dif- 


MUSCULAR  DEVELOPMENT  OF  THE  UPPER  HALF 
OF  THE  FIGURE  (Back). 


78  THE  ART  OF  CARICATURE 
ference  between  the  action  of  the  upper  and  lower 
extremities  is  the  manner  in  which  the  outer  bone  of 
the  lower  arm  rolls  over  and  across  its  neighbor. 
For  this  reason  its  joint  is  constructed  in  a radically 
different  manner  from  that  of  the  knee.  When  the 
bones  of  the  lower  arm  are  crossed,  the  palm  turns 
backward  and  the  thumb  is  toward  the  body.  When 
this  action  is  reversed  the  palm  of  the  hand  is  turned 
forward  and  the  thumb  outward.  The  greatest  mass 
of  the  hand  is  on  the  thumb  side.  The  back  of  this 
important  member  is  arched  sidewise,  the  palm  being 
concave  accordingly.  The  knuckle  of  the  middle 
finger  is  the  most  pronounced — though  in  a very 
plump  woman  or  child  the  knuckles  become  indenta- 
tions instead  of  projections.  There  are  two  principal 
sets  of  muscles  which,  in  turn,  cause  the  bones 
of  the  forearm  to  cross  or  resume  their  normal 
position. 

Another  set  of  muscles  causes  the  arm  to  bend;  still 
another  set  causes  it  to  extend;  the  former  being 
principally  in  front,  the  others  in  the  back.  In  many 
cases  these  two  sets  of  muscles  act  jointly.  The 
muscles  which  cause  the  arm  to  extend  terminate  in 
the  hand  in  tendons  of  a fan-like  shape,  which  may  be 
readily  seen  through  the  skin  of  a thin  hand.  When 


THE  ART  OF  CARICATURE  79 
the  fingers  are  bent  inward  they  all  have  an  inclina- 
tion toward  the  center  of  the  palm. 

The  elbow  fits  into  the  hollow  of  the  upper  arm 
bone.  When  the  lower  arm,  to  which  it  is  attached, 
is  straightened,  the  muscle  of  the  arm — previously 
described  as  a triangle  or  Greek  letter  D — covers  the 
biceps,  which  is  formed  of  two  heads,  as  its  name 
indicates.  Both  of  these  heads  are  attached  to  the 
bladebone;  they  are  quite  fleshy  at  their  principal 
point  of  size,  but  soon  become  tendonous  after  attach- 
ing themselves  to  the  outer  bone  of  the  lower  arm. 
They  end  in  a sinewy  membrane  which  descends 
along  the  forearm  to  the  wrist.  This  muscle  con- 
tracts appreciably  at  its  fleshy  part  during  strong 
action. 

The  triceps  is  on  both  sides  of  the  biceps.  Ex- 
tending around  the  back  of  the  upper  arm  bone  the 
triceps  is  divided  into  three  parts  so  distinct  that 
many  consider  them  as  three  muscles.  This  triple 
muscle  has  the  power  of  extending  the  forearm. 

The  manner  in  which  the  principal  veins  of  the 
arms  are  placed  can  be  seen  in  a glance  at  the  plate 
on  page  73.  Veins,  if  drawn  at  all,  should  be 
introduced  in  the  most  careful  manner  and  should 
never  be  exaggerated  in  the  slightest  degree. 


8o  THE  ART  OF  CARICATURE 

The  muscles  of  the  legs  are  generally  united  with 
each  other  in  their  various  functions,  and  are  in- 


MUSCLES  OF  THE  LEG. 


timately  joined  in  fabric  also.  The  limits  of  a work 
like  the  present  do  not  permit  the  complicated 
descriptions  which  an  involved  subject  of  this  sort 
require.  The  reader  is,  therefore,  referred  to  the 


THE  ART  OF  CARICATURE  81 
tabulated  plates  of  the  muscles  of  the  leg  and  thigh 
given  in  this  chapter. 

It  is  desirable,  however,  to  give  some  detailed  at- 
tention to  the  knee-joint,  as  an  important  and  beauti- 
ful part  of  the  human  form. 

The  triceps,  though  thus  named,  consists  of  four 
distinct  muscles  according  to  some  authorities;  they 
unite  to  move  the  thigh  inwards. 

One  large  muscle  pulls  the  thigh  upwards,  another 
downwards. 

The  sartorius  is  said  to  derive  its  name  from  the 
fact  that  it  brings  the  legs  obliquely  across  in  the  way 
tailors  sit  at  work.  It  arises  from  the  back  of  the 
pelvis — at  first  tendonous,  then  becoming  fleshy — 
descends  and  inclines  more  inward,  passes  obliquely 
over  the  triceps,  descends  (again  tendonous)  to  its 
insertion  into  the  fore  part  of  the  shinbone. 

An  important  muscle,  constituting  the  front  of  the 
thigh,  arises,  partly  fleshy,  partly  tendonous,  from  the 
lower  part  of  the  pelvis  and,  running  straight  down- 
ward, fixes  itself  by  a strong  tendon  into  the  knee- 
cap. The  kneecap  being  movable,  there  is  of  course 
a strong  ligament  attached  to  its  lower  point.  This 
ligament  is  firmly  rooted  into  a tubercle  on  the  fore 
and  upper  part  of  the  shinbone.  Thus  the  extension 


82  THE  ART  OF  CARICATURE 
of  the  leg  is  effected,  as  if  the  muscle  itself  were  at- 
tached at  this  spot. 

A muscle  (chiefly  observable  near  its  origin  at  the 
fore  part  of  the  spine  of  the  pelvis)  descends 
obliquely  outwards;  soon  spreading  itself  and  becom- 
ing tendonous,  envelops  another  series  of  muscles. 
Thence  it  extends  itself  to  the  inside  of  the  knee, 
which  it  envelops.  It  finally  inserts  itself  in  the 
head  of  the  large  bone  of  the  lower  leg.  From 
thence  it  sends  down  an  expansion  to  the  foot. 

A muscle  having  its  origin  at  the  front  and  top  of 
the  thigh-bone,  and  descending — with  oblique  fibers 
— in  a large  fleshy  mass,  is  inserted  into  the  inner 
side  of  the  kneecap.  Thence  it  throws  off  a system 
of  fibers  to  the  muscles  of  the  lower  leg. 

Next  may  be  noted  a muscle  which,  from  its  origin 
in  the  appendage  of  the  large  bone  of  the  lower  leg, 
runs  down  the  outside  of  that  bone  rather  obliquely, 
and  is  inserted  into  a large  wedge-shaped  bone  ad- 
joining the  great  toe.  It  bends  the  foot  upward. 

A mass  of  muscle,  made  up  of  four  lobes  or  heads, 
takes  its  rise  from  the  two  protuberances  of  the  thigh- 
bone, at  the  back  of  the  knee.  Descending,  it  divides 
into  two  fleshy  masses,  commonly  termed  the  calf  of 
the  leg. 


THE  ART  OF  CARICATURE  83 

A portion  of  this  system  of  muscles  also  arises 
from  the  back  parts  of  the  bones  of  the  lower  leg, 
and  assumes  different  degrees  of  flatness,  according  to 
the  purpose  for  which  the  different  units  are  intended. 
Where  the  strong  tendon,  common  to  these  muscles, 
attaches  itself  to  the  heel-bone,  there  is  a marked 
protuberance  which  should  never  be  omitted  in  a 
drawing. 

The  tremendous  power  of  these  combined  masses 
of  muscle  and  tendon  is  called  into  play  by  such  ac- 
tions as  walking,  running,  and  leaping.  A long  fi- 
brous muscle,  which  runs  down  the  outer  side  of  the 
leg,  is  attached  to  the  upper  outer  side  of  the  small 
lower  leg  bone.  From  there  it  passes,  tendonous, 
through  the  channel  at  the  outer  ankle,  whence  it  in- 
serts itself  into  the  upper  part  of  the  principal  bone 
of  the  great  toe ; its  most  important  use  is  to  move  the 
foot  outward. 

A tendonous,  fleshy  muscle  arises  out  of  the  upper, 
outer  part  of  the  lower  leg  bones.  It  splits  into 
round  tendons  and  is  inserted  by  a flat  tendon  into  the 
root  of  the  first  joint  of  each  of  the  four  small  toes; 
then  it  expands  over  the  upper  side  of  the  toes  as  far 
as  the  root  of  the  last  joint.  It  has  the  power  of 
extending  all  the  joints  of  the  four  small  toes. 


84  THE  ART  OF  CARICATURE 

Another  muscle  arises,  fleshy,  from  the  inside  of 
the  root  of  the  protuberance  of  the  heel-bone  and  is 
inserted  into  the  root  of  the  first  joint  of  the  great  toe. 
Its  purpose  is  to  pull  the  great  toe  from  the  others. 

When  the  knee  is  bent,  the  kneecap  recedes  partly 
into  the  soace  formed  by  the  separation  at  the  joint 
of  the  thigh  and  lower  leg-bones. 


FACIAL  EXPRESSION 


A FAMILIAR  acquaintance  with  the  changes 

/ ^ to  which  the  human  countenance  is  subject 
when  affected  by  the  various  passions, 
cannot  fail  to  prove  a useful  part  of  a caricaturist’s 
equipment. 

The  emotions,  of  course,  affect  to  a certain  extent 
all  the  members  of  the  body,  and  a minute  study  of 
this  subject  is  necessary. 

Graceful  lines  and  easy  poise  accompany  the  placid 
smile  and  gentle  look,  as  exemplified  in  a figure  con- 
veying the  idea  of  sympathy.  Radically  opposed  to 
this  in  character  would  be  a figure  with  rigid  muscles 
and  clenched  fists,  personifying  revenge. 

The  face,  however,  is  ordinarily  regarded  as  the 
mind’s  mirror,  and  is  less  restrained  by  civilization 
and  individual  habit  than  the  rest  of  the  body. 

In  dumb  persons,  or  uncivilized  peoples  with  a 
limited  vocabulary — or,  to  descend  still  lower  in  the 
scale  of  life,  in  brute  creation — passion  is  usually  in- 
dicated by  the  action  of  the  entire  body.  Civilized 

86 


THE  ART  OF  CARICATURE  87 
nations,  with  a flexible,  complete  language,  show 
much  less  physical  indication  of  the  workings  of  the 
mind  when  undergoing  powerful  emotions.  Action 
is  supplanted  by  words;  gesture  is  under  more  com- 
plete control — until,  of  course,  the  forces  of  nature 
show  themselves  on  some  sudden  strong  impulse, 
when  force  of  habit  and  civilized  restraint  are  thrown 
aside. 

Each  of  the  features  plays  its  important  part  in 
expression,  though  it  has  been  truthfully  said  that, 
if  the  rest  of  the  face  were  covered,  the  eye  with  its 
brow  would  go  far  in  expressing  all  the  softer  emo- 
tions of  human  nature;  it  addresses  to  us  in  intelligible 
language  sentiments  of  love,  sympathy,  pity,  or  joy; 
while,  in  the  more  fierce  or  stormy  passions  which 
agitate  man’s  mind  the  mouth  and  nose  are  called 
into  action  and  contribute  their  full  share  to  giving 
expression  to  these  passions. 

In  laughter,  the  cheeks  are  raised  in  such  a manner 
as  to  nearly  close  the  eyes,  which  sparkle  noticeably — 
the  eyelid  corners  being  turned  up  and  the  nose 
wrinkled;  the  mouth  describes  an  upward  arc. 

Sorrow  is  allied,  in  this  connection,  with  melan- 
choly, pity,  and  dejection.  This  emotion  is  generally 
expressed  by  a forward  inclination  of  the  head  and  a 


88  THE  ART  OF  CARICATURE 

relaxation  of  the  facial  muscles.  The  corners  of  the 
eyebrows  are  raised  toward  the  center  of  the  fore- 
head. Drooping  eyelids  and  upraised  pupils  are 
also  shown,  and  the  corners  of  the  mouth  are  drawn 
downward. 

Joy  is  indicated  by  slightly  parted  lips,  bright  eyes, 
and  an  upward  tendency  to  the  corners  of  the  mouth. 
Content  and  cheerfulness  cause  somewhat  the  same 
characteristics  of  facial  expression. 

Anger,  revenge,  rage,  and  hatred  may  be  classed 
together  and  affect  the  countenance  in  a similar  man- 
ner— the  head  being  raised  quite  sharply,  the  eyes 
glaring  fiercely,  eyebrows  contracted,  lips  pressed 
tightly  together,  and  the  facial  muscles  rigid,  with  the 
veins  of  the  forehead  swollen. 

Pain,  despair,  and  anguish  are  indicated  by  con- 
tracted eyebrows,  wrinkled  forehead,  slightly  parted 
lips,  and  a downward  turn  to  the  corners  of  the 
mouth. 

Astonishment,  horror,  and  terror  cause  the  eyes  to 
open  wide  and  to  look  at  the  object  causing  the  emo- 
tion. As  a rule,  the  white  of  the  eye  shows  above 
the  pupil;  and  opened  mouth,  wrinkled  forehead, 
raised  eyebrows,  and  hair  on  end  are  also  character- 
istic. 


THE  ART  OF  CARICATURE  89 
Derision  or  contempt  is  expressed  by  raising  the 
head  and  turning  it  somewhat  from  the  object  which 
excites  the  emotion.  Half-closed  eyes  with  lowered 
pupils,  lips  raised  at  the  corners,  and  wrinkled  nose 
are  also  customary. 


PERSPECTIVE  AND  FORESHORTENING 


THE  perspective  of  a picture  is  that  quality 
in  it  which  creates  a semblance  of  dis- 
tance. 

An  artist  recognizes  two  kinds  of  perspective: 
linear  and  aerial. 

By  linear  perspective  is  meant  the  effect  of  distance 
which  is  created  by  lines  running  away  from  the  eye, 
and  converging  at  a particular  point. 

In  order  to  make  clear  the  exact  manner  in  which 
lines  running  away  from  the  eye  slant  at  a definite 
angle,  the  reader  may  imagine  himself  on  a flat 
prairie  or  plain.  In  whatever  direction  he  looks  he 
will  see  the  horizon.  It  is  at  the  horizon  that  the 
earth  and  sky  seem  to  meet,  and  it  will  be  found  that 
this  line  is  always  at  the  height  of  the  eye  of  the  ob- 
server; if  he  reclines  on  the  ground,  the  horizon  sinks 
to  the  level  of  his  eye;  if  he  climbs  to  the  top  of  a tall 
pole,  the  horizon  will  again  seem  to  be  exactly  op- 
posite his  eye. 

The  point  on  the  horizon  to  which  one  is  looking 


90 


THE  ART  OF  CARICATURE 


91 

is  called  the  vanishing  point.  All  lines  which  run 
away  from  the  eye  in  a scene  converge  to  their 
vanishing  points.  If,  therefore,  a railroad  track  ran 
entirely  across  the  imaginary  plain  or  prairie  spoken 


EXAMPLE  OF  LINEAR  PERSPECTIVE. 


of  above,  and  the  spectator  stood  in  the  middle  of 
this  track  and  looked  up  or  down  it  in  either  direction, 
the  rails  would  apparently  rise,  to  meet  the  horizon 


92  THE  ART  OF  CARICATURE 

in  the  distance,  and  would  seem  to  gradually  near 

each  other  until  they  met  at  the  vanishing  point. 

A row  of  telegraph  poles,  at  either  side  of  this 
track,  would  show  their  attached  wires  in  gradual 
depression  and  convergence  until  they  too  met  at  the 
vanishing  point  on  the  horizon.  The  poles  would 
seem  to  be  increasingly  near  to  each  other,  in  pro- 
portion to  their  distance  from  the  eyes. 

Several  tracks,  with  attendant  telegraph  wires  and 
poles,  crossing  this  plain  or  prairie  at  various  angles, 
would — if  in  front  of  the  eye  and  running  away 
from  it — converge,  in  like  manner,  to  their  own 
particular  vanishing  points. 

The  foregoing  paragraphs  explain  briefly  the 
general  principles  of  linear  perspective,  which  apply 
to  thousands  of  objects  of  familiar  daily  use.  Chairs, 
tables,  and  other  articles  of  household  furniture,  con- 
tinually depicted  by  the  artist,  must  be  drawn  to 
conform  to  these  principles. 

A rule,  which  never  varies,  is  that  perpendicular 
lines  always  remain  so,  at  whatever  distance  from  the 
eye. 

Aerial  perspective  is  that  quality  of  color,  or  tone, 
which,  added  to  linear  perspective,  still  further  in- 
creases the  effect  of  gradual  distance  in  a pictorial 


PERSPECTIVE  IS  SHOWN  IN  THIS  DRAWING  BY  DIMINISHING 
VALUES  IN  THE  FOREGROUND,  MIDDLE  AND  FAR  DISTANCE. 


THE  ART  OF  CARICATURE 


94 

representation.  Even  though  a scene  were  drawn 
in  the  most  correct  linear  perspective,  overemphasized 
tones  and  colors  in  distant  objects  would  mean  a loss 
of  realism.  Objects  at  a considerable  distance  from 


FORESHORTENING  IS  SHOWN  IN  THE  TIGER’S 
BODY. 

the  eye  are  seen  through  more  atmosphere  than 
those  near  the  eye  and,  for  this  reason,  are  dimmer  in 
tone — less  full  of  color. 

Very  light  objects  become  slightly  darker  in  ap- 
pearance as  they  near  the  horizon,  while  very  dark 
objects  appear  lighter  under  a like  condition.  In 


THE  ART  OF  CARICATURE  95 

short,  the  general  tendency  of  distance  is  to  pull 
everything  nearer  together  in  tone,  to  form  a gray 
of  even  depth  in  all  objects  alike. 

Foreshortening  is  what  may  be  termed  the  perspec- 
tive of  human  figures  or  animals. 

A man  lying  at  full  length,  on  a level  with  the  eye, 
and  viewed  from  a point  just  at  the  top  of  his  head, 
would  be  foreshortened,  or  in  perspective,  and  would 
present  to  the  draughtsman  not  only  the  problem  of 
correct  anatomical  proportions,  but  of  these  propor- 
tions as  affected  by  the  laws  of  perspective. 


COLOR 


OWING  to  the  facility  with  which  a 
| modern  printing  press  can  print  several 
colors  at  one  running,  cartoons  and  comic 
pictures  are  frequently  published  in  colors.  As  these 
colors  must  be  originated  by  the  artist,  a short 
explanation  of  the  principles  of  coloring  is  given 
here. 

The  color-sense  is  radically  different  in  different 
people,  according  to  their  temperament  and  physical 
peculiarities. 

From  the  standpoint  of  the  artist  there  are  three 
primary  colors : red,  yellow,  and  blue.  Scientifically 
this  proportion  will  not  hold,  but  an  artist  does  not 
work  with  rays  of  light  but  with  pigments,  and  the 
simplest  form  to  which  pigments  can  be  reduced  is 
the  pure  blue  of  ultramarine,  the  pure  red  of  gera- 
nium, lake,  or  carmine,  and  the  pure  yellow  of  gam- 
boge or  chrome. 

Cartoonists  use  water  colors  for  tinting  their  draw- 
ings when  the  introduction  of  color  is  necessary. 

96 


THE  ART  OF  CARICATURE  97 
Tube  colors  are  the  most  practical  for  this  purpose. 
Water  colors  are  also  put  up  in  small  square  porcelain 
pans;  such  colors,  being  semi-dry,  do  not  work  so 
readily  as  the  moist  tube  colors. 

Secondary  colors  are  those  produced  by  blending 
any  two  primaries. 

A combination  of  blue  and  red  produces  purple; 
yellow  and  red  produce  orange;  yellow  and  blue 
produce  green. 

Two  secondary  colors  combined  form  what  is 
termed  a tertiary  color.  For  instance : purple  and 
orange  produce  russet;  green  and  purple  produce 
olive,  orange,  and  green  citrine. 

These  three  tertiary  colors  are  simply  tones  of 
gray  tending  toward  red,  yellow,  or  blue,  according 
to  their  composition. 

Light  and  shade  are  not  separate  from  color,  but, 
owing  to  the  manner  in  which  a caricaturist  colors  the 
black-and-white  proofs  of  his  drawings,  he  must  so 
consider  them. 

An  object  may  be  all  of  the  same  local  color,  yet, 
when  strongly  lighted,  present  to  the  eye  color 
notes  radically  different  in  the  shadows  and  lighted 
portions. 

Sunlight  casts  bluish  or  purplish  shadows,  though 


98  THE  ART  OF  CARICATURE 
it  is  only  within  recent  years  that  art  has  taken 
cognizance  of  this  fact.  The  impressionists  may 
claim  the  credit  of  having  made  the  first  correct 
analysis  of  the  manner  in  which  the  color  sense  is 
affected  by  cast  shadows  seen  in  a sunlit  scene. 

Objects  take  the  color  of  their  surroundings,  to  a 
great  extent.  Thus,  a dress  of  a definite  shade  of 
pink  would  appear  entirely  different  under  leaden  and 
blue  skies,  and  would  take  on  still  another  color 
phase  indoors,  where  the  light  is  not  so  diffused. 
These  subtle  variations  become  still  more  marked 
when  the  thing  which  affects  the  local  color  of  an 
object  is  so  bright,  or  so  near,  as  to  cast  a tinted  re- 
flection upon  it. 

The  surest  guide  for  producing  good  color  in  a 
pictorial  representation  is  nature,  and  the  ready-made 
receipts  to  be  found  in  so  many  pseudo-artistic 
publications  and  popular  text-books  on  art  may  well 
be  looked  at  askance;  for,  as  will  be  seen  by  a careful 
reading  of  the  preceding  part  of  this  chapter,  color 
does  not  look  alike  to  any  two  persons,  and  all  objects 
differ  in  color  according  to  their  surroundings. 

These  subtleties  of  color  observation  may  hardly 
be  noted  by  the  comic  artist  in  his  work,  but  a knowl- 
edge of  what  real  color  is,  based  cn  serious  nature 


THE  ART  OF  CARICATURE  99 

study,  will  surely  improve  the  color  work  of  an  artist, 
no  matter  how  conventional  or  simplified  his  coloring 
may  be. 

The  student  of  nature  soon  becomes  aware  that 
flesh  tones,  foliage  colors,  etc.,  are  not  arbitrary, 
unvarying  masses  of  one  tint,  becoming  light  or  dark 
according  to  the  planes.  There  are  delicate  nuances 
— continually  changing  subtle  harmonies — that  the 
trained  eye  takes  the  keenest  pleasure  in  observing. 
To  speak,  therefore,  of  “ flesh  color  ” or  “ leaf 
color,”  or  to  give  receipts  for  producing  such  colors, 
betrays  a hopeless  ignorance  of  the  elements  of  the 
subject. 

To  memorize  the  color  effects  of  the  usual  varieties 
of  hair,  eyes,  and  flesh  will  be  found  useful  by  one 
who  intends  to  work  without  the  aid  of  a model. 
Mental  notes  of  the  local  color  of  all  sorts  of  objects 
and  effects  should  be  stored  in  the  mind,  for  future 
reference. 

It  will  be  found  that  harmony  of  color  can  always 
be  obtained  by  a liberal  use  of  yellow,  which  is  sun- 
light color.  It  is  usual  to  speak  of  inharmonious 
colors  as  being  “cold  ” ; the  coldness,  of  course,  being 
the  result  of  too  little  yellow.  A color  arrangement, 
in  which  an  undue  effort  has  been  made  to  obtain 


100  THE  ART  OF  CARICATURE 
harmony,  is  apt  to  affect  the  eye  as  oversweetened 
food  affects  the  palate.  A slight  accent  note,  of  a 
discordant  color,  here  and  there,  is  the  necessary  cor- 
rective for  this — the  contrast  which  makes  the  del- 
icate harmonies  more  inviting. 


TECHNIQUE 

WHILE  beginners  attach  an  undue  im- 
portance to  technique,  it  is  probably 
true  that  the  average  art  school  devotes 
too  little  attention  to  this  vital  subject. 

It  would  seem  to  admit  of  no  argument  that  a 
workman  should  become  acquainted  with  his  tools. 
A carpenter  must  know  how  to  hold  a nail  in  one 
hand  and  a hammer  in  the  other  before  he  attempts 
to  use  nails  to  join  separate  pieces  of  wood.  Argu- 
ing thus,  why  should  an  artist  fail  to  learn,  first  of 
all,  how  to  hold  the  tools  he  works  with  in  rela- 
tion to  the  surface  on  which  he  works,  and  how  to 
propel  these  tools  in  order  to  achieve  any  desired 
result  ? 

Broadly  speaking,  technique  may  be  divided  into 
two  classes:  painting  (or  working  in  solid  tones)  and 
drawing  with  the  point  (or  working  in  line). 

As  a rule  it  is  customary  for  the  beginner  to  work 
in  tones,  or  masses,  because  they  are  approximately 
nearer  to  what  he  sees  than  a line  effect  would  be. 


IOI 


io2  THE  ART  OF  CARICATURE 
The  mediums  generally  used  for  working  in  solid 
tones  are  oil  color,  water  color,  pastel,  and  charcoal. 
The  mediums  best  adopted  for  line  drawing  are  pen- 
and-ink,  pencil,  crayon,  and  charcoal. 

While  the  caricaturist  usually  works  with  the  point 
(thus  producing  line  effects)  it  is  wise  to  have  a 
preparatory  technical  training  in  the  use  of  masses  of 
solid  grays,  blacks,  and  whites. 

It  should  be  remembered  that  sets  of  lines  are  used 
merely  as  arbitrary  representations  of  tones,  and  that 
each  line,  thus  used,  is  but  a unit  of  a tone. 

The  direction  in  wdiich  lines  (as  units  of  tone) 
should  be  drawn  is  often  a very  puzzling  problem  to 
the  tyro.  A little  thought  will  soon  prove  that  to  let 
the  lines  run  in  the  longest  possible  direction  is  the 
quickest  and  most  practical  way  to  attain  a desired 
effect.  For  instance,  in  attempting  to  represent  a 
telegraph  pole  in  one  flat  tone  of  gray,  it  would  re- 
quire a great  number  of  strokes  and  much  effort  to 
represent  this  gray  by  horizontal  lines;  perpendicular 
lines,  however,  would  enable  the  draughtsman  to 
command  this  subject  with  a few  long  strokes.  A 
trained  workman  always  gets  results  with  the  fewest 
motions;  this  applies  to  art  as  well  as  to  any  other 
craft.  Unnecessary  work  is  particularly  objection- 


THE  ART  OF  CARICATURE  103 
able  in  a cartoon,  because  a joke  should  never  be  told 
in  a labored  way. 

To  gain  a practical  knowledge  of  the  possibilities 
of  line,  it  is  perhaps  wiser  to  practice,  at  first,  with 
an  ordinary  writing  pen.  A stub  pen,  of  course, 
should  not  be  used. 

It  is  not  a bad  idea  to  use  black  draughtsman’s 
ink  at  the  outset,  because  it  works  so  differently 
from  writing  ink.  Many  beginners  complain  that 
the  average  drawing  ink  is  too  thick — that  it  does 
not  flow  with  enough  readiness.  This  is  a mis- 
taken notion;  the  drawing  ink  should  always  be  used 
as  it  comes  from  the  bottle,  and  never  diluted  with 
water.  Thorough  acquaintance  with  this  medium 
will  prove  the  necessity  of  having  it  rather  denser  in 
volume  than  is  customary  with  writing  fluids.  Many 
black  drawing  inks  are  pure  carbon,  held  in  suspen- 
sion, and  the  last  quarter  of  the  bottle  often  carries 
considerable  sediment.  This  fault  may  be  readily 
overcome  by  adding  a few  drops  of  liquid  ammonia. 

Higgins’  American  drawing  inks  (waterproof  and 
non-waterproof)  are  universally  used  and  liked  by 
pen  draughtsmen.  The  black  inks  manufactured  for 
artists’  use  by  the  Carter  Ink  Co.,  F.  Weber  & Co., 
Bourgeoise  Freres,  and  Winsor  & Newton  are  also  in 


io4  THE  ART  OF  CARICATURE 
favor.  Each  of  these  makes  has  its  individual 
peculiarities;  some  flow  rather  freely  and  lie  very 
flat,  while  others  flow  slowly, and  pile  up  somewhat  in 
the  heavy  masses.  Which  brand  shall  be  used  ex- 
clusively depends  entirely  upon  the  personal  taste  of 
the  artist,  and  an  intelligent  choice  can  only  be  made 
after  repeated  experiment. 

After  reasonable  acquaintance  with  the  properties 
of  drawing  ink,  used  on  a writing  pen,  practice  on  a 
draughting  may  be  undertaken. 

Draughting  pens  vary  even  more  than  draughting 
inks,  and  here,  again,  individual  taste  must  play  a 
large  part  in  the  final  selection  of  a permanent  tool. 
A Gillott’s  290  pen  makes  a very  fine  hair  stroke,  and 
by  sufficient  pressure  on  a properly  loaded  point  can 
also  be  made  to  yield  a fat,  rich  black  line.  For  this 
reason,  this  tool  has  a great  vogue  with  all  classes  of 
pen-draughtsmen.  Its  elasticity  is  probably  as  great 
as  that  of  any  drawing  pen  in  common  use.  Gillott’s 
Nos.  303  and  170  are  less  elastic  and  better  adapted 
to  the  hand  of  an  artist  whose  inclination  is  to  bear 
heavily  on  the  surface  upon  which  he  is  working. 
Perry’s  601  pens  are  made  in  England.  They  are 
rather  difficult  to  obtain  in  this  country,  but  are  worth 
searching  for;  artists  who  have  become  acquainted 


GENERAL  LORD  K-TCH-N-R  (tO  Mr.  John  Bull )— “ IF  YOU  WANT 
THIS  BUSINESS  QUICKLY  FINISHED  YOU  MUST  GIVE  ME  MORE  HORSES 
AND  MORE  MEN  TO  RIDE  THEM.” 


A DRAWING  IN  SLOW  LINES. 


io6  THE  ART  OF  CARICATURE 
with  their  merits  usually  accord  them  an  honored 
place  among  their  working  utensils.  Blanzy-Poure 
crowquills  are  very  finely  wrought  pens,  mounted  on 
a cylindrical  base  of  like  material,  and  attached  to 
thin  wooden  handles.  They  find  high  favor  with 
those  who  prefer  to  work  on  a minute  scale.  Many 
newspaper  artists,  cartoonists  particularly,  like  Ester- 
brook’s  048  Lady  Falcon  Pens.  These  (being  made 
to  write  with)  are  quite  stiff  and  unyielding  in  com- 
parison wTith  draughting  pens,  but,  when  properly 
handled,  give  a coarse,  clear  line  particularly  adapted 
for  reproduction  by  the  photo-engraving  process  and 
for  clear  printing  on  coarse  newspaper  stock. 

Next  in  importance  to  correct  drawing,  and  proper 
rendition  of  tone,  is  the  quality  of  line  in  a pen- 
drawing. A drawing  may  be  produced  by  a series  of 
long  or  short  lines,  slowly  drawn;  or  by  a series  of 
long  lines,  rapidly  drawn;  or  by  combining  slow  and 
rapid  lines. 

Lines  drawn  slowly  may  be  made  to  conform  to 
any  given  contour  without  lifting  the  point  which 
produces  them  from  the  paper.  Outlines  drawn 
with  a rapid  stroke,  however,  necessitate  lifting  the 
point  from  the  paper  at  every  sharp  angle.  The 
different  quality  of  these  two  sorts  of  lines  should  be 


THE  ART  OF  CARICATURE  107 
carefully  studied  in  the  reproduced  (or,  if  possible, 
original)  work  of  good  pen  artists. 


DRAWING  SHOWING  HOOKED  AND  ZIGZAG  LINES. 

In  laying  a tone  of  gray,  composed  of  rapidly 
drawn  lines,  it  will  be  found  that  the  more  quickly 


108  THE  ART  OF  CARICATURE 

the  strokes  are  made  the  greater  will  be  the  tendency 

of  the  lines  to  hook  at  their  ends;  and,  as  the  speed 


it’s  hard  luck  for  a good  shot  to  find  himself  on  a fat 

ELEPHANT. 

0 Chicago  News.') 

CROSS-HATCHED  LINES. 


is  still  further  increased,  the  lines  will  gradually 
merge  into  each  other,  forming  a continuous  line  of 
up  and  down  strokes  giving  a zigzag  effect.  The 


THE  ART  OF  CARICATURE  109 
diagram  herewith  shows  rapid  lines  merging  into 
hooked  lines,  and  thence  into  a zigzag  effect. 

Of  course,  slow  lines  never  have  hooked  ends, 
neither  do  they  run  into  a zigzag  effect. 

Cross-hatched  lines  are  sets  of  lines  running  at 
right  angles  over  other  sets  of  the  same  width  and 
at  the  same  distance  apart.  Cross-hatched  effects 
have,  in  the  past,  been  used  to  excess  by  many  well- 
known  cartoonists;  but  the  modern  tendency  is  in 
the  direction  of  simpler  treatment,  cross-hatching 
being  relegated  as  it  should  be  to  backgrounds  or 
such  parts  of  the  picture  as  must  be  disentangled 
from  their  surrounding  parts  by  a different  technical 
treatment.  Three  objects,  side  by  side,  of  three  vivid, 
distinct  colors  might — when  reduced  to  grays — ap- 
pear of  the  same  color.  In  such  a case  cross-hatch- 
ing would  be  of  obvious  value,  for,  by  its  means,  two 
grays  of  exactly  similar  tone  might  be  made  to  show 
different  color  quality. 

Cross-hatched  lines  are  also  useful  to  represent 
differences  in  texture.  Iron,  wood,  cloth,  and  various 
other  textures  would  have  a tendency  to  look  entirely 
alike,  when  reduced  to  lines,  if  the  draughtsman  had 
at  his  command  but  one  set  of  strokes. 

Double  or  twin  strokes  are  often  used  in  masses,  to 


no  THE  ART  OF  CARICATURE 
gain  variety  of  color  or  texture;  in  fact,  a special  pen 
has  been  invented  for  this  purpose,  although  its  use 
cannot  be  strongly  advised,  because  lines  drawn  with 
it  have  a rather  mechanical  effect. 

Pen-draughtsmen  often  use  stippling,  or  pen  dots, 
to  give  variety  of  technical  effect,  or  to  finish  an  entire 
picture  in  detail.  Cartoonists,  as  a rule,  merely  use 
stippling  as  an  occasional  effect  in  some  special  case. 

Somewhat  the  same  effect  as  stippling  can  be  ob- 
tained by  the  use  of  lithographic  or  grease  crayon  on 
a grained  surface,  if  the  crayon  strokes  are  not  put 
on  in  lines  but  as  a mass. 

Somewhat  allied  to  the  stipple  effects  is  spatter- 
work.  A spatter  tone  may  be  applied  to  any  part 
of  a picture  by  cutting  a stencil  of  the  desired  shape 
of  the  tone;  preferably  from  rather  stiff  cardboard. 
This  cardboard  stencil  may  be  pinned,  or  held  by 
weights,  in  its  proper  place  on  the  drawing,  and  the 
spatter  applied  by  a tooth-brush  dipped  in  ink,  which 
can  be  spattered  on  the  drawing  by  dragging  a pen- 
knife blade  sharply  over  the  hairs  of  the  brush. 

Stipple,  spatter,  and  various  other  gray  effects,  in- 
cluding ruled-line  grays,  may  be  introduced  in  a 
drawing  by  means  of  a mechanical  device  invented  by 
Mr.  Benjamin  Day.  This  is  commonly  called  the 


A good  example  of  German  caricature. 

STIPPLING  EFFECT. 


ii2  THE  ART  OF  CARICATURE 
Ben  Day  Machine,  and  most  large  newspapers  and 
engraving  plants  have  at  least  one  of  them  for  the 
use  of  their  artists.  These  machines  are  leased,  not 
sold,  and  are  quite  expensive. 

Ross’s  stipple  papers  (or  scratch  boards)  will  yield 
effects  very  similar  to  the  Ben  Day  machine  and  cost 
comparatively  little.  These  surfaces  all  have  a base 
of  cardboard  heavily  coated  with  chalk  and  are  of 
three  sorts : embossed,  printed,  and  embossed  and 
printed.  The  embossed  sorts  are  made  in  stippled 
or  grained  patterns  and  when  drawn  on  with  grease 
crayon  give  beautiful  effects.  Owing  to  the  heavy 
coating  of  chalk,  high  lights  can  be  readily  scraped 
into  the  grays  with  a sharp  penknife.  The  printed 
Ross  papers  come  in  tones  of  gray,  composed  of  lines, 
crossed  lines,  etc.  On  the  plain  printed  surfaces  pen- 
and-ink,  brush  blacks,  and  scraped-away  white  effects 
are  possible,  but  grease  crayon  cannot  be  used,  as 
this  surface  has  no  tooth,  or  grain,  for  the  crayon  to 
catch.  The  embossed  printed  Ross  papers  will  give 
all  the  effects  of  the  plain  printed  papers  and  in  addi- 
tion may  be  used  as  a surface  for  grease  crayon. 
Scratch  effects  have  not,  thus  far,  been  very  exten- 
sively used  by  American  comic  artists,  but  in  Europe 
they  are  held  in  high  favor. 


( Tacoma  Ledger .) 

AN  EXAMPLE  OF  SPATTER  WORK. 


1 14  THE  ART  OF  CARICATURE 

It  should  be  explained  that  grease  crayon  comes 
in  three  qualities:  hard,  medium,  and  soft.  For 
caricaturists’  use  it  is  preferable  to  black  chalk  (conte 
crayon)  because  it  will  not  rub  from  any  surface  to 
which  it  is  attached.  After  leaving  an  artist’s  hands, 
drawings  are  often  subject  to  rough  handling,  and 
fugitive  mediums  like  chalk  are  therefore  undesirable. 

In  some  of  the  smaller  cities  daily  papers  find  it 
impracticable,  or  too  expensive,  to  use  the  photo- 
engraving process  for  reproducing  cartoons  or  other 
drawings  made  with  the  pen.  What  are  called  chalk 
plates  are,  therefore,  resorted  to,  and  while  this 
process  does  not  yield  the  brilliant  clear  results  of  a 
zinc  etching  (or  line  engraving,  as  it  is  usually 
called),  it  produces  sufficiently  good  work  to  satisfy 
the  demands  of  the  less  important  daily  papers. 

A chalk  plate  is  a thin  piece  of  sheet  steel,  with  a 
blackened  surface,  on  which  has  been  deposited  a 
coating  of  chalk  about  one-thirty-second  of  an  inch 
thick.  The  picture  is  first  lightly  indicated  upon  the 
surface  of  this  chalk  by  a tool,  with  a hooked  point 
made  especially  for  chalk-plate  work.  The  finished 
drawing  is  made  by  using  precisely  the  same  technique 
as  for  a pen-drawing,  and  by  scraping  the  lines 
through  the  chalk  to  the  black  surface  of  the  steel 


MECHANICAL  GRAY  TONE  (BEN  DAY  PROCESS). 


n6  THE  ART  OF  CARICATURE 
plate.  In  order  to  see  the  design  the  artist  must,  as 
he  proceeds,  continually  blow  away  the  chalk  dust 
caused  by  cutting  through  the  coating.  Flat  tones  of 
black  may  be  obtained  by  the  use  of  a penknife. 
After  a drawing  has  been  carried  out  in  this  manner, 
a printing  plate  can  be  made  from  it  by  pouring  type 
m£tal  into  the  die  composed  of  the  chalk  and  steel. 
The  resulting  plate  must  then  be  mounted  on  a piece 
of  wood  to  make  it  type-high ; it  is  then  ready  for  the 
printer.  The  artist  seldom  carries  the  process  be- 
yond scraping  the  design  on  the  chalk  plate,  the 
stereotyping  is  therefore  not  a necessary  thing  for 
him  to  learn.  Chalk  plates,  and  tools  for  working 
on  them,  may  be  obtained  from  Carl  Schraubstadter, 
St.  Louis,  Mo.  They  are  quite  inexpensive,  and  if 
it  is  the  intention  of  the  student  to  work  on  a news- 
paper outside  of  the  large  cities,  he  should  familiarize 
himself  with  them. 

Many  surfaces  are  used  by  cartoonists  to  draw 
upon,  Bristol-board  probably  being  the  most  in  favor. 
In  buying  Bristol-board,  care  should  be  taken  to  select 
a board  composed  entirely  of  paper  stock.  Bristol- 
boards  are  on  the  market  which  are  heavily  coated 
with  chalk.  With  the  exception  of  the  Ross  papers, 
these  chalk-coated  surfaces  are  not  desirable  to  draw 


A CHALK-PLATE  DRAWING. 


n8  THE  ART  OF  CARICATURE 
on  with  the  pen,  as  the  pen  point  digs  up  the  surface 
and  the  ink  flows  in  an  irregular  manner,  entirely  re- 
fusing to  obey  the  draughtsman. 

Steinbach  and  smooth  Strathmore  papers  are  ex- 
cellent surfaces  for  pen-drawings,  having  rather  more 
tooth,  or  grain,  than  Bristol-board.  These  two 
kinds  of  paper  are  particularly  useful  when  the  in- 
troduction of  grease  effects  is  desired,  Bristol-board 
being  so  slippery  that  it  is  impossible  to  work  on  it 
with  crayon  of  any  sort. 

Though  cartoons  are  seldom  made  in  water  or  oil 
color,  a knowledge  of  how  to  handle  the  brush  is 
desirable  to  the  aspiring  cartoonist,  because,  in  these 
days  of  color  printing,  pen-drawing  proofs  must  fre- 
quently be  finished  in  water  colors  as  guides  for  the 
engraver  of  the  color  plates. 

In  order  to  lay  a perfectly  even  tone  of  water  color, 
the  drawing  to  be  colored  should  be  attached  to  a 
drawing  board,  and  tipped  at  a rather  decided  angle. 
The  brush  should  be  loaded  as  heavily  as  possible 
with  color,  in  which  there  is  plenty  of  water.  The 
spaces  to  be  colored  should  be  covered  from  the  top 
downward,  allowing  gravity  to  pull  the  color  toward 
the  worker  and  to  smooth  out  irregularities  automat- 
ically. The  painted  surface  should  not  be  touched 


THE  ART  OF  CARICATURE  119 
while  wet.  A water-color  tablet  is  a practical  utensil 
on  which  to  mix  color.  At  its  side  should  be  placed 
a good-sized  bowl  filled  with  clear  water,  and  an 
absorbent  rag  upon  which  to  dry  the  brush. 

Red  or  black  sable  brushes,  round  or  flat,  are 
usually  considered  the  best  for  water  color.  A 
medium-sized  brush  is  the  best  for  general  work,  and 
is  usually  all  that  will  be  found  necessary  to  color 
cartoons  or  comic  pictures. 


COMPOSITION 


THE  arrangement  of  the  masses,  lines,  and 
tones  (or  colors)  in  a picture  to  form  a 
pleasing  harmonious  whole  is  what  is 
called  composition. 

The  rules  of  composition  apply  to  serious  and 
comic  art  alike.  No  matter  what  the  ultimate  inten- 
tion of  the  student,  exhaustive  study  of  the  arrange- 
ment of  masterpieces  of  art  cannot  fail  to  lead  toward 
better  picture-making. 

A restful  arrangement  is  one  that  the  eye  can  grasp 
readily.  A picture  that  is  difficult  to  take  in  at  a 
glance  is,  therefore,  unrestful,  and  does  not  please  the 
eye  or  brain.  A simple  still-life  study  of  a dozen 
apples  (we  will  say)  can  show  in  arrangement  either 
a knowledge  of  massing  or  a lack  of  it.  If  these 
twelve  apples  were  placed  in  a straight  line  along  the 
base  of  a wall,  at  a distance  of  about  a foot  apart, 
they  would  be  distinctly  unpleasing  to  the  eye.  They 
would  be  unrestful  because  difficult  to  see  at  a glance. 
In  order  to  arrange  them  in  a more  restful  manner  it 


120 


THE  ART  OF  CARICATURE 


I 2 I 


would  merely  be  necessary  to  push  them  closer  to- 
gether— to  place  them  side  by  side.  Then  it  would 


THE  BIG  THIEF  CAN  T BE  REACHED. 

C Judge.) 

A GOOD  EXAMPLE  OF  PYRAMID  COMPOSITION. 


be  seen  that,  while  they  could  be  seen  more  easily, 
they  would  not  be  pictorially  interesting.  To  pile 
them  roughly  in  pyramidical  form  would  be  a dis- 


i22  THE  ART  OF  CARICATURE 

tinct  step  in  the  direction  of  beauty,  because  the 
heaviness  of  the  base  of  the  mass  would  give  a sense 
of  security,  or  restfulness. 

It  will  be  found,  by  studying  standard  sculptures 
and  paintings  of  the  past  and  present,  that  the 
pyramid  idea  is  always  carried  out  in  the  massing  of 
form.  This  rule  applies  to  figures,  animals,  or  still 
life,  and  it  is  imperatively  necessary  that  it  should  be 
firmly  fixed  in  the  mind  of  every  artistic  worker  who 
combines  objects  to  form  a pictorial  effect. 

Sometimes  there  are  several  groups,  or  masses,  in 
a,  picture,  all  of  which  must  be  arranged  in  pyramidi- 
cal  fashion.  A question  now  arises  as  to  the  plac- 
ing of  each  of  these  groups,  for  if  too  much  to  the 
left  or  the  right,  a sense  of  one-sidedness  would  be 
the  result.  If  disposed  too  evenly,  within  the 
boundaries  of  the  picture,  monotony  would  obtain. 
The  best  way  to  solve  the  difficulty  is  to  keep  in  mind 
a steelyard,  imagining  that  the  masses  bear  the  same 
relation  in  weight  as  they  do  in  size.  It  will  thus  be 
a comparatively  easy  matter  to  shift  them  about  until 
they  balance  perfectly  on  the  pivot  of  the  imaginary 
steelyard.  When  this  balance  has  been  obtained,  it 
will  be  found  that  the  placing  of  the  masses  pleases 
the  eye. 


{New  York  Herald .) 

BALANCE  OF  MASSES  OF  FORM  IS  EXCELLENTLY  SHOWN  HERE. 


APPLIED  CARICATURE 


jA  CARICATURE  is  a pictorial  representation 
/ ^ in  which  the  beauties  are  concealed  and 
/ % the  peculiarities  or  defects  exaggerated  to 

make  the  person  or  thing  ridiculous,  while  a general 
likeness  is  retained. 

A cartoon  is  a picture  (either  a caricature  or  a 
symbolical  composition)  designed  to  advocate  or 
attack  some  political  or  other  idea  of  present  interest 
or  some  prominent  person.  It  may  or  may  not  be  a 
caricature.  Many  well-known  paintings  are  virtually 
cartoons.  G.  F.  Watts’  “Love  and  Death”  and  other 
great  masterpieces  are  examples  of  this.  But  the 
usually  accepted  idea  of  a cartoon  is  the  pictorial  com- 
positions we  see  in  our  daily  papers  caricaturing  some 
prominent  person  or  idea. 

Although  caricature  may  be  applied  to  all  objects, 
the  human  face  and  figure  are  the  most  susceptible  to 
treatment,  the  most  interesting  and  convenient  to 
study;  and  he  who  masters  the  difficulties  of  facial 
expression  and  the  action  of  the  human  figure  will 


124 


THE  ART  OF  CARICATURE 


125 


find  other  objects  comparatively  easy.  The  multi- 
tudes who  travel  on  the  streets,  cars,  and  ferries 
furnish  any  amount  of  material  for  reference  and 
study  in  this  particular  field.  During  leisure  mo- 
ments no  more  fruitful  theme  offers  itself  to  the  artist 
for  enjoyment  or  benefit. 

An  accurate  pictorial  representation  of  any  person 
or  object  is  a portrait.  Of  course,  when  the  word 
portrait  is  commonly  used  it  refers  to  a representation 
of  a person;  but,  broadly  speaking,  the  statement 
which  commences  this  paragraph  is  correct.  On  the 
other  hand,  to  exaggerate  a portrait  is  to  produce  a 
caricature. 

In  addition  to  exaggerating  certain  facts,  good 
caricaturists  omit  much.  Therefore,  a caricatur- 
ist’s first  step  is  to  determine  what  peculiarities  are 
predominant  in  the  person  or  object  he  is  attempting 
to  ridicule,  and  in  what  way  these  can  be  exaggerated 
to  produce  the  most  humorous  effect.  A practical 
caricaturist  knows  by  experience  just  what  to  do  the 
minute  he  looks  at  an  object  he  intends  to  draw  in  a 
humorous  way;  and  while  definite  rules  cannot 
always  be  laid  down,  it  is  safe  to  say  that,  in  case  of 
some  well-known  character,  for  instance,  a heavy 
percentage  of  comic  artists  working  independent  of 


126  THE  ART  OF  CARICATURE 
each  other  would  seize  upon  the  same  salient  char- 
acteristics as  a butt  for  their  humor. 

The  beginner  should  never  attempt  to  produce  a 
caricature  of  a head  until  he  has  made  an  absolutely 
accurate  likeness  as  a standard  of  comparison. 

A fertile  field  for  the  imagination  of  the  cari- 
caturist, and  one  which  has  in  the  past  been  explored 
to  good  advantage,  is  the  combination  of  a man’s 
characteristics,  mental  or  physical,  with  those  of  an 
animal  which  he  seems  to  typify;  thus,  Richard 
Croker  has  been  repeatedly  represented  as  a tiger. 
Then,  too,  the  human  figure  can  be  made  to  suggest 
other  objects  in  an  effective  way.  Thomas  Nast,  the 
great  caricaturist  of  the  past  generation,  represented 
Tweed  as  a human  bag  of  money.  Some  faces, 
particularly  those  of  beautiful  women,  are  difficult, 
almost  impossible,  to  caricature. 

A commonly  used  device  in  a case  of  this  kind  is  to 
reduce  the  size  of  the  body  and  to  bring  into  promi- 
nence by  exaggeration  any  individual  peculiarity  of 
dress  or  manners  which  may  be  characteristic  of  the 
subject. 

Many  caricaturists  use  this  device  of  a small  body 
for  the  sake  of  bringing  the  head  (the  most  interesting 
part  of  the  figure)  into  greater  prominence,  so  that  its 


THE  ART  OF  CARICATURE  127 
expression  and  character  will  tell  the  story  very 
clearly  and  directly. 

The  exaggeration  of  the  size  of  heads  is  not  the 
only  device  of  this  kind  at  the  command  of  a comic 
artist;  hands,  feet,  legs,  or  other  parts  of  the  anatomy 
can  also  be  distorted  with  ridiculous  effect. 

A good  example  of  this  sort  of  work  may  be  found 
in  the  extremely  clever  drawings  Mr.  Howarth  con- 
tributes to  the  New  York  American. 

In  music,  it  is  said  that  the  most  beautiful  har- 
monies are  composed  of  notes  on  the  verge  of  discord. 
In  a picture,  it  is  true  that  the  most  beautiful  har- 
monies of  line  are  those  that  are  nearly  monotonous. 
The  attempt  to  get  variety  of  line  by  arranging  ob- 
jects, containing  long  sweeps  of  line,  in  violently  op- 
posed directions  is  a common  fault. 

As  a study  in  the  arrangement  of  lines,  a number 
of  long,  straight-stemmed  flowers  of  any  kind  may 
be  arranged  upon  a table.  If  all  the  stems  are  held 
in  the  hands  naturally,  as  one  would  hold  a bouquet, 
and  this  bunch  is  thrown  naturally  on  a table,  it  will 
be  seen  that — while  most  of  the  stems  run  in  the  same 
direction — there  are  many  subtle,  interesting  varia- 
tions of  line,  much  more  pleasing  than  any  violently 
opposed  angles  could  ever  be.  This  arrangement 


128  THE  ART  OF  CARICATURE 

however,  will  be  found  lacking,  because  all  of  the 
lines  in  it  tend  in  the  same  direction.  This  set  of 


(. Portland  Oregonian .) 

AN  ARRANGEMENT  IN  OPPOSING  MASSES  OF  LINES 


lines  must,  in  order  to  form  a good  composition,  be 
broken  with  one  or  more  sets  of  lines  running  in  an 


THE  HOME-COMING  OF  ROOSEVELT. 

( Boston  Post.) 

GOOD  COLOR  COMPOSITION. 


130  THE  ART  OF  CARICATURE 
opposing  direction.  These  opposing  sets  of  lines 
should — like  the  stems  of  the  flowers — show  subtle 
variations  of  inclination.  A vase,  for  instance,  quite 
upright  in  form,  and  with  long  lines  that  slope  gently 
inward  and  downward,  would  form  an  object  exactly 
adapted  to  complete  the  picture  in  a pleasing  manner. 

The  arrangement  of  spots,  groups,  or  masses  of 
tone,  or  color,  is  what  is  called  color  composition. 
The  brightest  or  lightest  spot  of  tone,  or  color,  should 
be  in  such  a place  in  the  picture  as  will  focus  the  eye 
of  the  spectator  at  the  greatest  point  of  interest.  An 
extremely  dark  or  light  spot,  standing  alone  in  a pic- 
ture— otherwise  low  in  tone — would  have  a very  un- 
restful effect.  As  an  artist  might  express  it,  “ it 
would  burn  a hole  in  the  picture.”  It  is,  therefore, 
necessary  to  repeat  this  focal,  or  accent  spot  or  tone 
of  color  in  other  and  carefully  arranged  places  in  the 
picture.  Take,  as  an  example,  a figure  of  a girl  in  an 
extremely  light  dress,  against  a light  background,  and 
with  jet-black  hair.  If  the  black  of  the  hair  were 
not  repeated  (perhaps  in  the  shape  of  black  gloves, 
fan,  belt,  or  a dog  at  her  feet) , it  would  dominate  the 
whole  picture  and  form  a disturbing  element. 

Pictures  showing  figures,  animals,  or  objects  ap- 
pearing abruptly  from  the  sides,  top,  or  bottom  are 


THE  ART  OF  CARICATURE 


I3I 

termed  truncated  compositions.  This  sort  of  ar- 
rangement is  extremely  valuable  in  special  cases, 


TRUNCATED  COMPOSITION. 


where  it  is  necessary  to  introduce  very  large  heads 
in  the  foreground,  or  where  some  effect  is  desired 
which  could  not  well  be  obtained  by  more  conven- 


132  THE  ART  OF  CARICATURE 
tional  arrangement.  Alma-Tadema,  R.  A.,  is  a 
master  of  truncated  composition,  and  reproductions 
of  his  work  should  be  carefully  studied  in  order  to 
gain  a clear  idea  of  this  beautiful  and  sometimes  in- 
dispensable method  of  composing  a picture. 

Having  thoroughly  reasoned  out  the  arrangement 
and  balance  of  the  masses,  the  next  problem  which 
presents  itself  is  the  arrangement  of  the  floor  or 
ground  space.  Figures  in  action  must  always  have  a 
reasonable  space  behind  them  to  show  from  whence 
they  came,  and  a reasonable  space  in  front  of  them  to 
allow  further  action  in  that  direction.  Single  figures 
or  groups,  together  with  all  accessories,  must  be  so 
disposed  on  the  ground  plan  that  they  will  not  im- 
pinge upon  one  another.  The  middle  distance,  fore- 
ground, and  background  must  all  have  their  clearly 
allotted  space.  If  these  rules  are  not  conscientiously 
adhered  to,  the  placing  of  the  objects  will  not  appear 
reasonable  when  viewed  from  the  front.  In  short, 
to  obtain  a convincing  result,  the  picture  must  have 
“ a place  for  everything,  and  everything  in  its  place.” 

In  the  preceding  paragraphs,  composition  has  been 
alluded  to  in  an  entirely  pictorial  sense.  It  should 
be  understood,  however,  that  a painting  or  drawing 
— though  beyond  criticism  on  its  aesthetic  side — 


THE  ART  OF  CARICATURE 


J33 

might  have  no  meaning  whatever  in  a literary  sense; 
that  is,  it  might  convey  no  message — no  idea — to  the 
minds  of  those  who  looked  at  it.  In  a cartoon  this 
would  be  a vital  fault.  The  literary  part  of  a car- 
toon— the  story  of  it — should  be  the  solid  foundation 
upon  which  the  aesthetic  structure  is  built.  It  is  a 
favorite  axiom,  in  certain  modern  schools  of  art,  that 
“ subject  is  of  no  moment.”  Whistler,  who  did  so 
much  to  overthrow  many  accepted  theories,  is  said  to 
have  been  the  father  of  this  phrase;  whether  he  was 
or  not,  it  so  exactly  represents  his  viewpoint  that  it 
might  easily  have  come  from  his  lips.  It  need  hardly 
be  explained  that  the  comic  artist’s  creed  is  violently 
opposed  to  this  dictum.  A cartoon,  or  a comic  pic- 
ture of  any  kind,  without  a story  to  it,  is  like  a riddle 
without  an  answer — an  incomplete  thing  with  little 
value  as  a work  of  art,  and  of  no  use  as  a laugh- 
provoker. 

A knowledge  of  modern  dress  in  all  its  subtle  varia- 
tions, and  an  intimate  acquaintance  with  the  costumes 
of  the  past,  are  essential  requirements  of  the  modern 
worker  in  black-and-white.  Costumes  often  radically 
affect  the  posing  and  grouping  of  a picture;  for  it  is 
obvious  that  a mass  of  women  garbed  in  the  hoop- 
skirt  costumes  of  the  sixties  would  hardly  take  the 


i34  THE  ART  OF  CARICATURE 
grouping  of  a similar  number  of  Hans  Makart’s 
nymphs  clothed  in  flowing  draperies. 

Posing  a model  is  no  mean  art.  The  best-posed 
model  is,  as  a rule,  the  unposed  one.  A man,  woman, 
or  child  will  unconsciously  assume  countless  beautiful 
or  comic  characteristic  poses  which  no  artist  could 
hope  to  invent. 

Figures  in  violent  action  should  be  sketched  in  such 
a way  as  to  show  the  action  in  its  most  explanatory 
phase.  It  would  hardly  convey  the  idea  of  jumping 
to  show  the  figure  of  a man  just  about  to  alight  on 
his  feet;  to  convey  the  idea  properly  he  must  be 
drawn  in  mid-air,  with  his  arms  and  legs  doubled,  and 
the  action  of  jumping  must  be  clearly  indicated. 

The  comic  devices  used  by  caricaturists  and  car- 
toonists, to  give  point  and  humor  to  their  creations, 
are  many.  One  of  the  most  common  at  present — a 
balloon  issuing  from  the  mouth  of  a character  with  a 
caption  therein — is  a revival  of  a custom  which  had 
become  obsolete.  Nast’s  explanatory  devices  were 
introduced  in  the  shape  of  placards,  for  the  most 
part,  and,  toward  the  end  of  his  career,  these  placards 
dominated  his  pictures  to  such  extent  that  they  often 
greatly  minimized  their  effect. 

All  devices  that  make  for  humor  should  be  used  to 


FIGURES  SHOWING  ACTION  IN  ITS  MOST  EXPLANA- 
TORY PHASES. 


136  THE  ART  OF  CARICATURE 

the  fullest  extent  by  the  comic  artist,  but  when  they 
infringe  on  the  pictorial  qualities  of  the  work,  by 
overbalancing  them,  it  will  always  be  found  that 
there  is  a loss  of  humor. 

A sense  of  humor  is  an  essential  qualification  for 
the  cartoonist  or  caricaturist.  The  ability  to  origi- 
nate humor  is  of  course  inborn;  but  it  can  be  culti- 
vated, and  where  a spark  exists  a flame  can  be  coaxed. 
Added  to  the  sense  of  humor,  the  cartoonist  should 
have  a general  idea  of  the  political  situation  through- 
out the  countries  of  the  world.  He  should  also  be 
reasonably  familiar  with  what  is  happening  in  society 
and  financial  circles.  A knowledge  of  history,  my- 
thology, and  the  Bible  will  not  come  amiss,  but,  most 
of  all,  he  must  have  what  is  termed  “ a nose  for 
news  ” and  the  ability  to  rapidly  convert  important 
news-topics  into  crisp,  logical,  convincing  pictorial 
sermons.  The  mere  ability  to  draw  an  ill-propor- 
tioned face  does  not  constitute  a good  comic  artist,  or 
even  touch  the  outskirts  of  good  cartooning.  A well- 
known  cartoonist  has  aptly  said  that  “ a case  parallel 
with  the  profession  of  a cartoonist  would  be  a man 
who  could  turn  a somersault  on  a bare-backed  horse, 
play  a cornet,  write  heavy  editorials,  and  blow  glass.” 
It  is  obvious  that  such  a combination  of  talents  is  not 


THE  ART  OF  CARICATURE 


H7 

commonly  found,  although  many  men  have  one  or 
two,  or  even  three,  of  these  accomplishments.  Each 
accessory  of  a properly  conceived  cartoon  should 


Why  not  form  a ring  and  let  Jerome  and  Parkhurst  fight  it  out  ? 

THE  “BALLOON”  DEVICE  FOR  EXPLANATORY 
CAPTIONS  IS  SHOWN  HERE. 

bring  out  its  chief  point,  and  anything  added  beyond 
this  is  an  element  of  weakness.  The  picture  should 
convey  one  idea  strongly,  and  at  the  first  glance. 

The  newspaper  worker  soon  learns  by  severe  edi- 
torial criticism  (if  his  natural  tact  does  not  point  it 


138  THE  ART  OF  CARICATURE 
out  to  him)  that  a newspaper  is — first  of  all — a 
business  proposition,  and  that  nothing  in  his  cartoon 
must  offend  its  readers  or  advertisers  in  any  way.  A 
cartoon  which  causes  a paper  to  lose  money  is  not  a 
good  piece  of  work  from  a publisher’s  standpoint,  be 
it  ever  so  high  in  artistic  merit,  or  clever  in  its  humor- 
ous conception. 

The  clientele  of  each  paper  is  in  most  cases  among 
definite  strata  of  society.  No  race  of  people,  no  re- 
ligious denominations  (obvious  frauds  excepted) 
must  be  lampooned.  Of  course,  one  may  poke  all 
the  fun  he  wishes  at  Uncle  Sam,  because  he  is  synon- 
ymous with  the  public — too  indefinite  a mass  to  take 
offense  at  anything  a mere  funny  man  may  draw  or 
write. 

Of  course,  nicety  of  treatment  need  not  be  ac- 
corded to  the  English,  Germans,  Chinese,  Russians, 
or  any  other  race  of  people  who  have  not  left  their 
native  shores  for  this  land  of  the  free.  Such  people, 
as  a rule,  are  not  purchasers  of  the  paper  on  which 
the  artist  is  employed,  and  their  personal  feelings  can 
make  no  possible  difference  to  his  publisher’s  income. 

For  a considerable  time  after  Mr.  McKinley’s 
death  it  was  considered  in  extremely  bad  taste  to  use 
the  chief  executive  in  a cartoon  save  in  the  most 


THE  ART  OF  CARICATURE  139 
dignified  way;  but  of  late  the  comic  draughtsmen 
have  shown  a disposition  to  take  their  old-time  liber- 
ties with  the  President.  To  those  unacquainted  with 
the  methods  employed  by  the  daily  papers,  getting 
ideas  for  cartoons  seems  to  be  not  the  least  part  of 
the  work;  but  the  systematic  way  in  which  a trained 
man  conducts  his  search  for  ideas  takes  away  much  of 
the  element  of  chance  and  uncertainty,  and  often  nar- 
rows down  the  available  current  news  subjects  to  such 
a small  number  that  it  is  not  uncommon  to  find  several 
cartoonists  in  one  city  treating  the  same  subject  on  the 
same  day. 

Mr.  W.  A.  Rogers,  the  New  York  Herald’s  bril- 
liant cartoonist,  says : 

“ In  my  work  the  question  of  timeliness  comes  next 
to  being  the  main  thing.  I still  cling  to  the  belief 
that  the  quality  of  the  work  counts  most.  After  all, 
we  cartoonists  are  merely  reporters  with  a drawing 
pen  or  brush  instead  of  a pencil. 

“ We  can’t  use  typewriters,  which  is  a handicap. 
But  we  must  follow  the  news  as  closely  as  any  editor. 
Our  news  sense — that  much-abused  term — must  be  as 
keen.  And  we  have  our  exclusive  features — our 
‘ beats  ’ — or  we  are  beaten.  Often  a cartoonist  must 
edit  a page  of  political  news  into  a narrow  column 


Ho  THE  ART  OF  CARICATURE 
cut,  or  reduce  a column  of  news  into  a single  line.  A 
chain,  you  know,  is  only  as  strong  as  its  weakest  link. 
Well,  I can’t  afford  to  miss  the  news  of  a single  day.” 

There  are  usually  one  or  two  prominent  news  items 
each  day  acceptable  for  treatment  as  cartoons. 
Sudden  war,  a runaway  bank  cashier,  a bit  of  im- 
portant election  news,  are  examples  of  hundreds  of 
happenings  that  furnish  pertinent  suggestions  for 
satirical  picture-editorials. 

It  will  be  seen  from  the  above  that,  to  succeed  in 
this  profession,  the  artist  must  be  an  inveterate — -and, 
it  may  be  added — a scientific  reader  of  newspapers. 
An  extremely  clear  idea  of  the  modus  operandi  by 
which  a cartoon  finds  its  way  from  the  mind  of  its 
inventor  to  the  printed  page  is  given  in  a clever  article 
in  the  Saturday  Evening  Post  by  Mr.  John  T.  Mc- 
Cutcheon,  who  says : 

“ With  his  list  of  cartoon  suggestions  the  car- 
toonist goes  to  the  editor  and  submits  them  for  his 
editorial  approval,  or  else,  if  he  has  discretionary 
powers,  he  selects  himself  the  one  that  offers  the 
greatest  possibilities  for  a successful  cartoon. 

“ To  illustrate  the  sort  of  ideas  he  submits,  I will 
mention  a few  that  were  suggested  one  day  last 
spring.  The  piece  of  news  that  was  ‘ featured  ’ on 


THE  ART  OF  CARICATURE  141 

the  first  page  was  Senator  Hoar’s  speech  in  the 
Senate,  a remarkable  oration  in  which  the  keynote 
was  an  appeal  that  the  Philippines  be  given  the  same 
treatment  by  the  United  States  that  was  being  given 
to  Cuba.  This  news  was  the  germ  of  an  idea  that 
would  represent  Senator  Hoar,  with  face  beaming 
with  grandmotherly  benevolence,  pointing  to  a per- 
forated cardboard  motto  which  he  had  just  worked 
out  in  the  style  of  the  old-fashioned  ‘ God  Bless  Our 
Home  ’ mottoes.  It  was  ‘ the  Filipinos’  Golden 
Rule,’  and  it  said,  ‘ Do  unto  Us  as  You  Have  Done 
unto  Cuba.’  Another  big  piece  of  news  that  was 
strongly  featured  that  day  was  the  report  that  a 
negro  had  been  burned  at  the  stake  some  place  down 
in  Texas.  Using  this  as  a text,  a suggestion  was 
submitted  that  showed  a Filipino  congratulating  him- 
self that  the  ‘ water-cure  ’ had  been  introduced  in  his 
country  instead  of  the  ‘ fire-cure.’  This  suggestion 
was  speedily  discarded  as  being  repugnant,  for  the 
reason  that  it  was  an  effort  to  give  a humorous  turn 
to  a condition  that  should  not  be  handled  humorously, 
if  at  all,  in  a cartoon. 

“ The  third  idea  was  founded  on  the  approach  of 
commencement  time,  and  this  was  selected  because  it 
had  the  quality  of  being  good-natured,  innocuous, 


142  THE  ART  OF  CARICATURE 
and  also  timely.  The  class  of  ideas  to  which  this 
belongs  might  be  considered  as  a sort  of  pictorial 
breakfast-food  and  is  popular  with  the  cartoonist, 
wTho  feels  that  his  mission  has  been  fulfilled  if  he 
succeeds  in  bringing  a bit  of  cheerfulness  to  some- 
one’s heart  and  thereby  makes  the  beginning  of  a day 
sunnier.  Its  excuse  lies  in  the  belief  that  people  pre- 
fer to  be  amused  than  to  be  reformed.  The  cartoons 
of  this  class  never  rock  the  foundations  of  nations, 
but  they  probably  make  the  world  a little  more  cheery  - 
as  it  rolls  along.” 

All  subjects  are  not  susceptible  of  broadly  humor- 
ous treatment.  A frivolous  comic  cartoon  on  a sub- 
ject of  vital  importance  would,  if  printed  at  a crucial 
moment,  be  an  unpardonable  affront  to  every  intel- 
ligent reader  of  the  paper.  Some  subjects  must  be 
treated  in  a serious  vein,  even  though  there  is  satirical 
humor  back  of  the  idea. 

Pictures  illustrating  jokes  or  humorous  conversa- 
tions, while  belonging  to  the  same  family  as  cartoons, 
are  conceived  and  carried  out  in  a different  manner. 

It  is  not  their  purpose  to  do  much  more  than  create  a 
passing  laugh,  as  a rule.  Unlike  many  cartoons,  they 
make  no  pretense  of  fulfilling  any  serious  mission. 

Someone  has  spoken  of  a political  cartoon  as  a 


THE  DISGRACE  OF  SOUTH  CAROLINA. 

{Minneapolis  Tribun  el) 


A NEWS  CARTOON. 


i44  THE  ART  OF  CARICATURE 
picture-editorial.  This  definition  is  peculiarly  apt, 
conveying  to  the  mind  a great  deal  more  than  the 
term  caricature. 

It  is  within  the  memory  of  those  still  young  that 
an  editorial  convincingly  written  had  the  power  to 
change  the  trend  of  a political  campaign,  or  to  sway 
the  masses,  either  for  or  against  any  question  of  public 
importance.  The  growing  tendency  to  use  cartoons, 
particularly  in  the  daily  press,  brought  into  the  field  a 
sturdy  rival  to  the  old-time  leaded  editorials.  Now- 
adays one  pertinent  picture  can  do  more  to  help  or 
injure  a cause  or  person  than  any  editorial.  A car- 
toon can  be  sensed  at  a glance,  its  swift  message  i-s 
exactly  in  accord  with  the  spirit  of  the  age.  The  busy 
man  on  the  way  to  his  office  can  understand  it  in  a 
few  seconds,  while  a written  editorial  in  the  same 
paper  remains  unread.  Editors  have  been  prompt  to 
notice  these  facts,  and  are  quick  to  discover  and  re- 
ward artists  who  can  supply  material  which  has  be- 
come of  imperative  need.  It  will  thus  be  seen  that 
something  more  than  mere  draughtsmanship  is  re- 
quired in  this  profession.  Technical  accuracy,  of 
course,  counts  for  much,  but  the  idea  back  of  the 
picture  is  the  thing. 


MODERN  MASTERS  OF  COMIC  ART 


NOWLEDGE  of  what  the  modern  mas- 


among  them. 

It  will  not  be  possible,  of  course,  in  the  limits  of  a 
chapter  to  go  very  deeply  into  this  subject,  but  an 
idea  can  be  gained  of  the  trend  of  American  Carica- 
ture and  some  outline  of  the  life  and  characteristics 
of  the  men  who  are  producing  this  work  can  be  given. 
Preceding  this  generation  of  caricaturists,  and  largely 
influencing  them,  were  three  brilliant  pioneers:  Nast, 
Keppler,  and  Gillam. 

Thomas  Nast  was  born  in  Landau,  Bavaria,  and 
was  the  son  of  a musician  in  the  Bavarian  army.  He 
came  to  New  York  when  nine  years  of  age  and  was 
educated  in  the  public  schools  there.  His  first  work 
for  reproduction  was  done  for  Frank  Leslie,  by 
whom  he  was  employed  when  but  fifteen  years  old 
at  the  meager  salary  of  four  dollars  a week.  He 
sketched  the  Sayers-Heenan  fight  for  the  New  York 


ters  of  comic  art  are  producing  is  essen- 
tial to  one  who  would  take  his  place 


145 


146  THE  ART  OF  CARICATURE 
Illustrated  News,  going  to  England  for  that  purpose. 
Afterward  he  went  to  Italy  and  followed  Garibaldi’s 
army  through  its  victorious  campaign,  contributing 
extremely  clever  war  sketches  to  the  illustrated  press 
of  New  York,  London,  and  Paris.  During  this 
period  Garibaldi  intrusted  him,  as  his  aid,  with 
several  important  missions.  Returning  to  the  United 
States  in  1861,  a year  later  he  formed  a connection 
with  the  staff  of  Harper  Brothers,  remaining  with 
them  for  twenty-four  years.  His  salary  at  the  close 
of  his  career  with  this  firm  was  ten  thousand  dollars 
a year.  In  1886  he  found  himself  unable  to  agree 
with  the  political  policy  of  Harper’s  Weekly  and 
severed  his  connection  with  the  periodical  in  which  he 
had  achieved  a brilliant  success.  He  introduced 
many  features  into  his  work  which  were  at  that  time 
novel  in  the  art  of  cartooning.  Symbols  which  are 
the  common  property  of  the  present-day  cartoonist 
were  invented  by  his  fertile  brain.  Among  them  are 
Uncle  Sam,  the  Tammany  tiger,  the  Republican 
elephant,  the  Democratic  jackass,  the  bloody  shirt  of 
anarchy,  and  the  laboring  man’s  cap  and  dinner  pail. 
As  a painter  he  has  produced  much  work  of  historical 
value.  From  1873  t0  1888  he  made  a number  of 
lecturing  tours  throughout  the  United  States,  accom- 


ENGLISH  CARTOONISTS  AND  CARICATURISTS 
OF  THE  PAST  AND  PRESENT. 


148  THE  ART  OF  CARICATURE 
panying  his  witty  and  entertaining  talks  with  offhand 
sketches  with  chalk  and  crayon  on  a large  canvas. 
Later  he  published  Nast’s  Weekly  and  contributed  a 
number  of  pictures  to  the  Illustrated  American. 
During  the  Roosevelt  administration  he  was  ap- 
pointed United  States  consul  to  Guaiaquil,  where  he 
died  a short  time  after  his  arrival. 

Joseph  Keppler  was  born  in  Vienna  in  1838.  He 
was  educated  in  the  schools  of  his  native  city.  His 
first  published  sketch  was  for  a humorous  Viennese 
journal.  Then  he  traveled  with  a theatrical  troupe 
for  a time  through  Italy,  coming  to  America  in  1869, 
where  he  again  connected  himself  with  the  theatrical 
profession,  but  soon  decided  to  devote  his  entire 
energy  to  art.  He  founded  an  illustrated  paper, 
but,  upon  the  death  of  his  partner,  gave  it  up 
and  went  to  work  for  Frank  Leslie  in  New  York 
City,  where  he  formed  the  acquaintance  of  the  late 
Adolph  Schwarzmann,  who,  in  1876,  commenced  the 
publication  of  the  German  Puck,  the  forerunner  of 
the  Puck  of  to-day.  The  paper  was  published  under 
the  management  of  Keppler  & Schwarzmann  and 
prospered  from  the  beginning.  Keppler  associated 
with  him  on  the  staff  of  the  paper  many  comic  artists 
and  cartoonists  whose  names  are  everywhere  known 


THE  PIONEERS  OF  AMERICAN  CARICATURE. 


i5o  THE  ART  OF  CARICATURE 
to-day.  His  personal  success  as  an  artist  was  due  in 
no  small  measure  to  his  use  of  classical  subjects  as  a 
basis  for  modern  satirical  hits. 

Bernard  Gillam  was  born  in  England  and  came  to 
America  when  a small  boy.  After  his  schooling  in 
Brooklyn  he  inclined  toward  law  as  a profession,  but 
finally  yielded  to  his  artistic  bent  and  began  the  study 
of  art.  He  finally  drifted  into  caricature.  He  was 
connected  in  an  artistic  capacity  with  Harper’s 
Weekly , Leslie’s  Weekly,  and  Puck  until  in  1886, 
when,  together  with  his  father-in-law,  James  Arkell, 
he  founded  Judge.  From  the  start  he  made  it  a 
factor  in  American  journalism  that  contributed 
greatly  to  the  success  of  the  Republican  party.  His 
sympathies  were,  however,  not  held  in  restraint  by 
any  distinctive  political  faith.  At  the  time  of  his 
death  Leslie’s  Weekly  in  an  editorial  comment  said : 

“ In  the  line  of  his  profession,  Mr.  Gillam  was  in 
the  truest  sense  a genius.  His  mind  was  phenome- 
nally alert  and  his  discernment  wonderfully  acute. 
Familiar  with  the  best  classic  literature,  a student  of 
current  thought  and  the  trend  of  public  affairs,  with 
an  analytical  capacity  which  enabled  him  to  fathom 
motives,  his  conception  had  a breadth  and  power 
which  never  attach  to  the  mere  mechanical  cartoon, 


Vv  . A. 

SOME  PROMINENT  NEW  YORK  CARTOONISTS. 


152  THE  ART  OF  CARICATURE 

and  which  appealed  alike  to  the  educated  and  the  less 

intelligent  classes.” 

Technically  he  was  a skilled  draughtsman.  He 
never  indulged  in  distortion  as  a means  of  ridicule, 
but  always  produced  his  effects  by  careful  composk 
tion  and  correct  drawing. 

Two  or  three  things  entitle  Homer  Davenport  to 
consideration  as  one  of  the  foremost  cartoonists  of 
to-day.  Though  he  has  temporarily  given  up  car- 
tooning for  the  lecture  field,  he  is  far  from  forgotten 
as  an  artist.  He  has  done  some  remarkable  work 
for  the  several  papers  in  which  his  drawings  have 
appeared.  His  dollar-marked  Hanna  and  the  Giant 
Trust  figure  (suggested  by  the  statue  of  Samson  in 
Venice)  are  inseparably  connected  with  the  political 
and  financial  events  of  the  day.  Davenport  is  an 
Oregonian  by  birth.  In  1892  he  worked  on  the  San 
Francisco  Examiner.  In  1895  Mr.  Hearst  took  him 
to  New  York,  where  he  has  since  made  his  home. 

He  attacks  social  and  political  evils  in  his  cartoons 
with  a straightforwardness  and  directness  that  at 
times  are  positively  brutal.  His  work,  while  not 
technically  accurate  as  far  as  draughtsmanship  is  con- 
cerned, has  all  the  force  and  strength  of  a well- 
written  editorial. 


THE  ART  OF  CARICATURE  153 
In  commenting  on  his  work  Collier  s says : 

“ A popular  cartoonist,  who  very  effectively  as- 
sociated Mr.  Hanna,  some  years  ago,  with  what  we 
call  'the  dollar  mark,’  showed  his  softened  heart  at 
the  end  by  a picture  of  the  nation  mourning  over  the 
Senator’s  final  illness.  The  first  cartoon  was  not  un- 
just. It  vividly  put  forth  a fact,  as  it  presumably 
expressed  no  personal  greed  on  Mr.  Hanna’s  part,  but 
the  free  use  of  money  which  he  made  in  politics. 
Yet  the  practical  withdrawal,  which  it  is  understood 
the  artist  wished  to  make,  was  not  unnatural;  for  the 
cruelty  of  criticism  is  felt  by  many  a sensitive  critic. 
Duty  leads  him  to  severity,  and  then  humanity  re- 
minds him  how  often  men  act  for  what  they  think  is 
right  even  when  their  acts  seem  to  high-minded  critics 
to  be  full  of  flagrant  wrong.  Tom  Taylor  has  ex- 
pressed brilliantly  his  repentance  in  a case  where  he 
was  originally  in  error,  but  much  of  what  he  says 
might  have  applied,  even  had  his  convictions  re- 
mained unchanged: 

“ ‘ You,  whose  smart  pen  backed  up  the  pencil’s  laugh, 

Judging  each  step,  as  though  the  way  were  plain; 

Reckless,  so  it  could  point  its  paragraph, 

Of  chief’s  perplexity,  or  people’s  pain  ! ’ 

No  statesman  in  our  history  has  been  more  sensitive 
to  hostile  comment  than  Washington  was.  He  suf- 


i54  THE  ART  OF  CARICATURE 

fered  intensely  with  each  thrust  from  a press  that  was 
as  frank  in  those  days,  although  not  as  powerful,  as 
it  is  at  present.  He  also  felt  each  censure  as  a bitter 
wrong,  in  which  his  spirit  showed  smaller  than  that 
of  Lincoln,  whose  limitless  charity  covered  not  only 
reasonable  difference  of  view,  not  only  those  who 
were  unjust  in  ignorance,  but  those  even  whom  preju- 
dice and  passion  led  to  abuse  him  for  his  physical 
misfortunes.  Criticism  is  necessary,  whether  it  be  of 
politicians,  financiers,  authors,  painters,  or  any  other 
persons  who  stand  in  a relation  to  the  public,  but 
there  are  times  when  criticism  seems  a very  unwel- 
come and  cruel  trade  to  follow,  as  hard  as  that  of  the 
criminal-court  judge,  prosecuting  attorney,  or  public 
executioner.  Mr.  Folk  always  makes  it  clear  that  his 
motive  is  the  State’s  defense,  and  not  the  individual’s 
punishment;  similar  distinction  justifies  the  critic,  and 
happily  for  him  he  can  be  as  useful  as  often  in  praise 
as  in  denunciation.” 

C.  G.  Bush,  by  virtue  of  his  long  service,  is  re- 
garded as  the  dean  of  present-day  cartoonists.  He 
was  born  in  Boston  in  1842.  His  father  was  United 
States  Consul  to  Hong-Kong,  and  most  of  Bush’s 
childhood  was  spent  there.  A course  of  art  study  in 
Boston  and  a trip  to  Europe  in  1875,  where  he 


THE  ART  OF  CARICATURE 


U5 

studied  under  Bonnat,  constitute  his  art  training.  A 
number  of  his  early  commissions  were  for  story  il- 
lustrations and  were  executed  for  Harper  Brothers. 
His  first  cartoon  was  drawn  in  1879  f°r  the  Evening 
Telegram.  His  services  were  immediately  in  de- 
mand for  cartoons  in  the  different  New  York  papers. 
By  his  regular  contributions  to  the  New  York  World , 
he  has  earned  a reputation  as  the  best  equipped  and 
most  gifted  of  American  newspaper  cartoonists.  He 
has  the  faculty  of  eliminating  all  unnecessary  detail 
and  emphasizing  his  point  by  a few  lines. 

Charles  Nelan  is  a native  of  Akron,  Ohio.  His 
artistic  training  was  received  in  the  National  Acad- 
emy of  Design  of  New  York.  After  finishing  his 
studies  he  returned  to  Akron  and  began  work  on  a 
local  newspaper,  afterwards  connecting  himself  with 
the  Cleveland  Press.  His  cartoon  of  ex-Governor 
Foraker  as  a vulture  brought  him  into  marked 
prominence,  being  used  as  the  subject  of  an  address 
by  the  man  at  whom  it  was  aimed.  Gradually  Mr. 
Nelan’s  work  became  known  to  the  publishers  of 
New  York,  and  it  was  not  long  before  he  was  em- 
ployed regularly  on  the  New  York  Herald,  most  of 
his  work  appearing  in  this  paper  during  the  Spanish- 
American  War.  Later  he  accepted  a position  on 


156  THE  ART  OF  CARICATURE 
;he  Philadelphia  Ncrth  American , and  here  occurred 
an  incident  in  his  career  that  attracted  unusual  atten- 
tion. A series  of  cartoons  appeared  in  the  North 
American  in  which  the  Governor  was  represented  as 
a parrot  doing  various  amusing,  not  to  say  extremely 
undignified,  things.  These  cartoons  so  incensed  the 
candidate  that,  upon  his  election,  he  recommended  in 
his  inaugural  address  the  introduction  of  a bill  to 
limit  the  use  of  political  cartoons.  This  was  called 
the  “ Press  libel  law.”  Speaking  of  Mr.  Nelan’s 
cartoon  which  caused  the  bill  to  be  introduced,  the 
Governor  said:  “An  ugly  dwarf,  representing  the 
commonwealth,  stands  on  a crude  stool;  the  stool  is 
subordinate  to  and  placed  alongside  of  a huge  print- 
ing press  with  wheels  as  large  as  those  of  an  ox-team, 
and  all  are  so  arranged  as  to  give  the  idea  that  when 
the  press  starts  the  stool  and  the  occupant  will  be 
thrown  to  the  ground.  Put  into  words,  the  cartoon 
asserts  to  the  world  that  the  press  is  above  the  law, 
and  greater  in  strength  than  the  government.  In 
England  a century  ago  the  offender  [Mr.  Nelan] 
would  have  been  drawn  and  quartered  and  his  head 
stuck  upon  a pole  without  the  gates.”  Mr.  Nelan 
wrote  the  Governor  a letter,  in  which  he  demanded  a 
retraction,  which  was  given  in  a public  note.  This  is 


CHARLES  LEDERER. 


WELL-KNOWN  AMERICAN  CARTOONISTS. 


158  the  art  of  caricature 

the  first  instance  in  the  United  States  in  which  a 
political  cartoon  has  been  legislated  against.  Mr. 
Nelan  is  at  present  connected  with  the  staff  of  the 
New  York  Glebe. 

In  direct  refutation  of  the  quotation  that  “ The 
value  of  the  cartoon  of  to-day  seems  to  be  to  amuse 
rather  than  change  public  opinion  ” is  the  work  of 
W.  A.  Rogers,  whose  cartoons  have  appeared  in 
Harper’s  Weekly  continuously  for  the  last  fifteen 
years,  and  who  is  the  most  serious  of  present-day 
cartoonists.  He  is  a thorough  artist,  his  subjects 
being  all  carefully  drav/n  and  well  chosen.  His 
pictures  are  practically  sermons.  Rogers  has,  of 
late,  drawn  for  newspapers,  a number  of  his  cartoons 
appearing  in  the  New  York  Herald. 

John  McCutcheon  is  probably  the  best  known  of 
Western  cartoonists.  He  not  only  draws,  but  is  a 
very  readable  contributor  to  Eastern  journals  on  the 
subject  of  caricature  and  newspaper  illustration. 
Mr.  McCutcheon’s  cartoons  have  appeared,  from 
time  to  time,  in  the  Chicago  Record-Herald,  Tribune, 
etc.  H is  work  is  more  ridiculous  than  serious. 
During  Prince  Henry’s  tour  of  the  country  the 
Chicago  Record-Herald  published  a series  of  pictures 
entitled  “ the  cartoons  that  made  Prince  Henry 


THE  ART  OF  CARICATURE 


i59 

famous.”  The  title  of  the  series,  being  a clever 
travesty  on  a well-known  advertising  catch  line,  was 
an  instant  hit.  Mr.  McCutcheon  worked  this  theme 
out  to  the  fullest  advantage.  In  the  series  of  car- 
toons he  drew,  under  pressure  during  the  short  time 
Prince  Henry  was  here,  McCutcheon  pays  little 
attention  to  the  rules  of  drawing  or  perspective,  rely- 
ing for  his  effects  upon  manipulation  of  crowds  or 
groups,  generally  viewed  from  an  elevation.  He  has 
been  connected  with  the  Chicago  Record-Herald 
since  1889,  a number  of  his  illustrations  appearing  in 
connection  with  “ Sharps  and  Flats,”  a column  writ- 
ten by  the  late  Eugene  Field,  and  “ Stories  of  Street 
and  Town,”  the  first  work  of  George  Ade. 

The  Pacific  Coast  is  the  birthplace  of  a number  of 
our  best-known  modern  cartoonists.  It  has  on  the 
staff  of  its  newspapers  some  exceptionally  good  men, 
among  them  Will  E.  Chapin,  Edward  S.  Reynolds, 
Lute  Pease,  and  Merriman  Peter. 

Mr.  Chapin  of  the  Los  Angeles  Times  was  artist 
and  correspondent  for  Frank  Leslie’s  Weekly  during 
the  anarchist  trouble  of  1886.  At  Homestead  also, 
while  representing  the  Buffalo  Express , he  drew  and 
wrote.  Later  he  was  a constant  contributor  of 
illustrated  historical  stories  and  humorous  skits  to  the 


160  THE  ART  OF  CARICATURE 


leading  Chicago  papers.  Since  1894  he  has  been 
connected  with  the  staff  of  the  Los  Angeles  Times. 
He  is  very  versatile,  his  technique  resembling  that  of 
Sir  John  Tenniel  of  Punch. 

Edward  Reynolds  has  also  been  a correspondent 


as  well  as  newspaper  cartoonist.  His  first  artistic 
work  for  reproduction  was  done  by  the  chalk-plate 
process  for  the  Riverside  Enterprise  of  California, 
the  Fresno  Democrat,  the  San  Francisco  Evening 
Post,  and  later  for  the  Tacoma  Ledger  (with  which 
he  is  now  connected) . His  newspaper  experience 
covers  a period  of  ten  years. 

Mr.  Leon  Barritt,  while  not  regularly  employed 


WILL  E.  CHAPIN. 
Los  Angeles  Times ■ 


EDWARD  S.  REYNOLDS. 
Tacoma  Ledger. 


THE  ART  OF  CARICATURE  161 
on  any  newspaper,  contributes  to  more  of  them  in 
New  York  and  Brooklyn  than  any  other  member  of 
the  profession.  He  has  qualified  for  the  independent 
position  he  occupies  through  all  the  different  stages  of 
newspaper  work,  from  newsboy  to  reporter,  man- 


ager, and  proprietor.  With  a thorough  knowledge 
of  the  political  history  of  the  country,  he  is  a man  of 
ideas,  rather  than  a great  cartoonist.  In  his  draw- 
ing he  has  been  influenced  by  the  technical  require- 
ments of  photo-engraving,  often  using  solid  blacks 
and  careful  stiff  cross-hatching  to  produce  the  desired 
effects. 

Zimmermann  of  Judge  was  a farmer’s  boy,  then  a 


162 


THE  ART  OF  CARICATURE 


fish  peddler,  a bartender,  a clerk,  then  a sign  painter. 
He  was  born  in  Switzerland.  As  a young  man  he 
painted  cellars  and  roofs  on  the  New  York’s  East 
Side.  Here  he  got  much  material  for  his  later  work. 
His  first  prominence  was  due  to  a painting  on  a fence 


of  the  Mulligan  Guards  (founded  on  Harrigan’s 
burlesque  conception  of  an  Irish  regiment) . Keppler 
sent  for  him  and  gave  him  employment.  He  re- 
mained on  Puck  until  after  the  death  of  Bernard  Gil- 
lam,  the  founder  of  Judge.  Then  Gillam’s  work 
was  divided  between  Zimmermann  and  Hamilton. 
His  pictures  are  the  acme  of  distortion  and  exaggera- 
tion. 

Mr.  Charles  Lederer’s  name  is  invariably  con- 


VICTOR  GILLAM. 
Judge. 


J.  S.  PUGHE. 
Puck. 


THE  ART  OF  CARICATURE  163 
nected  with  the  Chicago  Herald.  In  1883,  when 
James  W.  Scott  assumed  management  of  the  Chicago 
Herald , Mr.  Lederer’s  work  was  a feature  of  the 
paper.  Lederer  is  a New  Englander  by  birth  and 
received  his  art  education  in  New  York  City.  His 
first  work  in  that  city  was  designing  valentines. 


Later  he  worked  for  a number  of  weekly  and 
monthly  publications.  His  ambition  led  him  into  the 
publishing  business,  where  he  proved  a decided 
failure.  His  great  success  was  made  in  the  West, 
where  he  has  produced  pictures  of  all  sorts — sad, 
satirical,  humorous,  and  beautiful. 

Valerian  Gribayedoff  is  a Russian  by  birth.  He 
left  Russia  with  his  parents  when  a boy,  and  received 
his  education  in  England,  France,  and  Germany.  In 


VALERIAN  GRIBAYEDOFF. 


WALT.  McDOUGAEL. 


1 64  THE  ART  OF  CARICATURE 
1879  he  arrived  in  America.  He  soon  became  a 
literary  contributor  to  the  New  York  Tribune,  Truth 
(a  daily  penny  paper),  the  Evening  Express,  and  the 
Press.  Through  the  medium  of  the  New  York 
W orld,  Mr.  Gribayedoff  started  illustrated  daily 


journalism  in  America.  His  portraits,  done  for  va- 
rious magazines,  are  models  of  pen  technique.  At 
present  he  is  war  correspondent  for  Collier’ s Weekly. 

Claudius  Maybell  of  the  Brooklyn  Eagle  is  a 
Westerner.  Like  Davenport,  he  came  from  Oregon. 
He  was  born  in  Portland  in  1872.  He  is  a prolific 
worker,  and  a man  of  ideas.  After  three  years  in  a 
San  Francisco  art  school,  he  made  his  way  east.  He 
has  worked  for  various  newspapers  in  Philadelphia 


CLAUDIUS  MAYBELL. 
Brooklyn  Eagle . 


TOM  BARCLAY. 
Philadelphia  Press. 


THE  ART  OF  CARICATURE  165 


and  New  York.  He  is  a rapid  worker,  often  doing 
two  or  three  cartoons  to  fill  a given  space  before  a 
final  selection  is  made.  The  Brooklyn  Eagle  would 
hardly  be  considered  complete  without  his  work. 

Maybell  has  strong  convictions  as  to  the  value  of 


a cartoon.  He  says:  “The  cartoon  has  two  dis- 
tinct parts:  first,  the  idea;  second,  the  illustration; 
each  requiring  a special  training.  He  is  only  half  a 
cartoonist  who  cannot  supply  his  own  ideas.  I try  to 
make  a cartoon  a pictorial  metaphor,  so  that  the 
meaning  is  independent  of  any  caption.  Otherwise 
a cartoon  is  merely  a conversation  picture.” 


DAN  BEARD. 


MICHAEL  ANGELO  WOOLF. 


i66 


THE  ART  OF  CARICATURE 


F.  T.  Richards  is  a Philadelphian  by  birth.  He  is 
principally  known  by  his  pictures  in  Life.  He  has 
drawn  for  this  publication  since  1890.  During  the 
agitation  for  and  against  the  libel  bill  in  the  Pennsyl- 
vania Legislature,  Mr.  Richards  was  commissioned  to 
do  a number  of  cartoons  for  the  Philadelphia  Press. 


GRANT  HAMILTON. 


Like  Rogers,  Mr.  Richards  is  a splendid  draughts- 
man, the  work  of  the  two  men  being  somewhat 
similar  in  character.  Richards’  cartoons  in  the  New 
York  Herald  during  the  anti-Tammany  campaign  in 
1901,  brought  forth  his  best  efforts,  and  are  remem- 
bered as  a factor  in  electing  the  successful  candidate. 

Among  the  cartoonists  of  the  Middle  Northwest 
may  be  mentioned  Mr.  C.  L.  Bartholomew  (better 


THE  ART  OF  CARICATURE  167 
known  as  “ Bart  ” to  the  readers  of  the  Minneapolis 
Journal ) ; Mr.  G.  W.  Rehse  of  the  St.  Paul  Pioneer 
Press;  Mr.  C.  F.  Naughton  of  the  Minneapolis 
Tribune f and  a successor,  the  late  R.  C.  Bowman  of 
that  paper,  and  R.  D.  Handy  of  the  Duluth  News- 
Tribune. 

Bartholomew’s  work,  aside  from  its  technical 
points  of  excellence,  is  of  interest  from  the  fact  that 
he  has  consistently  shown  that  it  is  not  necessary  to 
resort  to  abuse  to  make  a cartoon  interesting  and  ef- 
fective. His  cartoons  also  appear  in  Scripp’s  al- 
liance, which  includes  daily  papers  in  Chicago,  De- 
troit, Grand  Rapids,  Cleveland,  Cincinnati,  and  St. 
Louis.  The  vast  circulation  his  pictures  have  thus 
obtained  has  made  his  name  familiar  with  the  public 
of  the  Middle  West. 

Rehse  of  the  St.  Paul  Pioneer  Press  is  a native  of 
Minnesota.  He  has  spent  the  largest  part  of  his  life 
in  Minneapolis.  His  first  work  was  for  the  Penny 
Press  of  that  city.  After  a career  with  the  St.  Paul 
Globe  and  St.  Louis  Republic , he  worked  for  the 
Pioneer  Press  of  St.  Paul.  He  has  no  art  training, 
but  his  work  shows  the  value  of  remembering  ob- 
served facts.  This,  of  course,  is  a necessary  factor  in 
the  work  of  all  cartoonists,  but  is  quite  remarkable  in 


1 68  THE  ART  OF  CARICATURE 

a man  without  artistic  training.  Regarding  his  work 
he  says:  “ I make  it  a rule  never  to  offend  by  vicious 
strokes  those  sharing  contrary  political  belief.  A 
cartoon  can  be  made  to  tell  its  story  in  a good-hu- 
mored way,  hitting  the  other  fellow  near  the  belt 
without  knocking  his  wind.” 

Coleman  F.  Naughton  of  the  Minneapolis  Trib - 


C.  F.  NAUGHTON. 
Minneapolis  Tribune. 


une,  is  probably  one  of  the  youngest  cartoonists  in 
the  United  States.  His  work  is  bold  and  vigorous, 
leaning  strongly  toward  exaggeration.  His  future  is 
one  of  great  promise.  He  recently  succeeded  the 
late  Mr.  Bowman,  who,  with  Rehse  and  Bartholo- 
mew, have  done  much  to  add  to  the  artistic  fame  of 


THE  ART  OF  CARICATURE  169 
the  Twin  Cities.  Bowman’s  cartoons  were  never 
vicious  or  ugly,  but  full  of  typical  Western  good 
cheer  and  good-natured  bantering. 

R.  D.  Handy  of  the  Duluth  News-Tribune  is 
another  cartoonist  of  prominence,  his  work  being 
copied  extensively  in  Western  journals.  His  ideas 


are  all  happily  conceived.  He  prefers  to  get 
his  effects  with  outlines,  and  without  regard  to 
modeling. 

Detroit  boasts  of  two  of  the  most  progressive  car- 
toonists in  the  Middle  Western  States:  Thomas  May 
and  Fred  C.  Nash  of  the  Journal.  The  former  is 
as  extensively  copied  as  any  man  in  the  United  States. 


R.  D.  HANDY. 
Duluth  News-Tribune. 


i7o  THE  ART  OF  CARICATURE 
Nash’s  work,  both  in  motive  and  execution,  is  quite 
different  from  May’s,  but  the  variety  thus  afforded 
the  Journal  gives  it  a prestige  in  Western  journalism. 
May  is  forty-three  years  old  and  has  been  doing 
newspaper  drawing  for  twenty  years,  twelve  years 
of  that  time  having  been  devoted  to  the  Jour- 
nal. He  has  refused  several  flattering  offers  from 
Eastern  publishers. 

W.  B.  Aleshire  of  the  Chicago  Inter-Ocean  is  a 
very  young  and  ambitious  cartoonist,  having  had 
considerable  experience  in  newspaper  work  in  various 
capacities  throughout  the  country  before  adopting  art 
as  a profession. 

L.  D.  Bradley  of  the  Chicago  News  is  one  of  the 
best  known  of  Western  artists.  His  cartoons  in  the 
News  have  added  greatly  to  the  strength  of  that 
paper  as  a political  organ.  He  is  a versatile  draughts- 
man. His  compositions  are  equally  meritorious  in 
idea  and  drawing.  Facial  expression  and  action  are 
excellently  shown  in  all  his  figures. 

M.  J.  Fallon  of  the  Jacksonville  Metropolis  is  a 
native  of  Pittsburg.  He  began  his  career  as  a news- 
paper artist  on  the  Pittsburg  Times  and  was  later  a 
contributor  to  the  Gazette  and  Chronicle-Telegraph 
of  that  city.  He  is  at  present  doing  chalk-plate 


THE  ART  OF  CARICATURE  171 

work  exclusively,  and  handles  this  difficult  medium  in 
a particularly  happy  manner. 

Two  well-liked  Boston  cartoonists  are  Norman 
Ritchie  (“  Norman”)  of  the  Boston  Post  and  Or- 
ville Williams  of  the  Boston  Herald.  The  former 


is  a Canadian  by  birth.  He  has  been  writing  and 
illustrating  for  the  daily  press  for  fifteen  years.  Most 
of  his  work  has  been  published  by  the  Post.  He  is 
self-taught  and  draws  equally  well  with  either  hand. 
His  humorous  writings  on  local  politics  are  as  popular 
as  his  cartoons. 


172  THE  ART  OF  CARICATURE 


Mr.  Williams  of  the  Boston  Herald  is  a remarka- 
bly clever  cartoonist.  All  his  drawings  show  deli- 
cacy and  certainty  of  touch,  with  a fine  sense  of 
humor.  He  is  one  of  the  best  cartoonists  in  New 
England. 

Ohio  boasts  of  four  political  cartoonists  of  promi- 


nence, and  in  a State  where  there  is  so  much  political 
activity  and  strife,  and  which  contains  so  many  states- 
men, the  reputation  of  a newspaper  artist  is  im- 
portant. J.  H.  Donohey,  with  the  Cleveland 
Plain  Dealer , W.  L.  Evans,  with  the  Cleveland 
Leader , E.  A.  Bushnell,  with  the  Cincinnati  Post,  and 
Harry  J.  Westerman,  with  the  Ohio  State  Journal, 


J.  H DONOHEY. 
Cleveland  Plain  Dealer. 


W.  L.  EVANS. 
Cleveland  Leader. 


THE  ART  OF  CARICATURE  173 


are  all  first-class  draughtsmen.  Donohey’s  first 
newspaper  work  was  done  for  the  Cleveland  World 
by  the  chalk-plate  process.  Bushnell,  before  his 
work  on  the  Post,  had  seen  many  phases  of  life.  He 
was  at  home  on  land  or  sea,  having  been  both  a sailor 


and  cowboy.  His  art  training  was  acquired  in 
Cleveland. 

A.  B.  Frost  is  the  most  artistic  of  American  cari- 
caturists. He  first  attracted  attention  by  a series  of 
sketches  drawn  on  wood  for  a book  by  Max  Adeler, 
not  at  all  in  the  vein  of  the  work  he  is  doing  at 
present. 

His  pictures  of  country  life  and  hunting  scenes, 


E.  A.  BUSHNELL. 
Cincinnati  Post. 


HARRY  J.  WESTER  MAN. 
Ohio  State  Journal. 


THE  ART  OF  CARICATURE 


U 4 

published  in  magazines  and  periodicals,  rank  with 
the  best  illustrative  work  of  to-day.  He  occasionally 
publishes  some  comic  skits  which  occupy  a field  of 
their  own,  being  infinitely  superior  to  the  work  of  the 
average  pencil  comedian. 

McKee  Barclay,  the  cartoonist,  is  considered  a 


power  in  Maryland  politics.  By  the  finished  charac- 
ter of  his  work  and  studious  attention  to  detail  he 
has  made  for  himself  an  enviable  place  among  news- 
paper cartoonists.  His  first  work  was  for  a country 
weekly  in  Kentucky.  Like  a great  many  of  the 
present-day  cartoonists,  he  entered  the  profession  by 
way  of  the  chalk-plate  route.  He  was  with  the 


THE  ART  OF  CARICATURE  175 
Louisville  Courier-Journal,  the  Montgomery  Ala- 
bama Despatch,  Baltimore  World,  and  finally  joined 
the  staff  of  the  Baltimore  News,  where  he  now  is. 

No  one  among  New  York’s  small  army  of  illustra- 


WINSOR  MCCAY. 
New  York  Herald. 


tors  has  attracted  more  attention  by  his  work  on  the 
newspapers  than  Dan  Smith.  The  beauty  and  re- 
finement of  line  in  all  his  drawings  is  a noticeable 
feature  of  his  work.  Smith  was  born  in  Labrador. 
He  is  at  present  on  the  staff  of  the  New  York  World. 

Winsor  McCay  of  the  New  York  Herald,  recently 


176  THE  ART  OF  CARICATURE 
of  the  Cincinnati  Enquirer t is  another  New  York 
cartoonist  whose  work  is  admired  for  "its  beautiful 
technique.  His  compositions,  all  of  which  are  deli- 
cate and  refined  in  treatment,  have  the  additional  ad- 
vantage of  being  drawn  to  reproduce  well.  He  is  a 
good  draughtsman  and  a clever  manipulator  of  lines. 

Another  cartoonist  of  prominence  on  the  New 


H.  C.  COULTAUS. 

New  York  Evening  Telegram. 


York  Herald  is  H.  C.  Coultaus.  A humorous  series 
of  pictures  by  him  during  the  political  campaign  of 
1903  appeared,  showing  Mr.  Devery  in  different 
oratorical  attitudes  in  front  of  “ the  Pump.” 
Coupled  with  captions  in  the  dialect  of  “The  Big  Big 
Chief  ” they  were  very  popular.  Mr.  Coultaus 


THE  ART  OF  CARICATURE 


177 

works  in  clean  outlines,  with  an  occasional  accent  note 
of  gray  or  bitick. 

J.  S.  Anderson’s  drawings  are  fine  examples  of  dis- 
tortion and  exaggeration.  His  “ Who’s  Who  ” 


J.  S.  ANDERSON.  C.  M.  PAYNE. 

New  York  Herald.  Pittsburg  Gazette. 


series,  done  for  the  New  York  Herald,  gave  him  a 
distinct  place  as  a cartoonist. 

His  signature  “ Vet  ” is  well  known  to  the  readers 
of  the  New  York  daily  papers. 

Frederick  Opper’s  later  work  on  the  New  York 
Journal  (now  the  American)  has  made  his  name 
familiar  to  millions.  Previously  he  was  for  eighteen 
years  on  the  art  staff  of  Puck.  Opper  was  born  in 
Madison,  Ohio,  in  1867. 


178  THE  ART  OF  CARICATURE 

Charles  M.  Payne  of  the  Pittsburg  Gazette  began 
life  as  a Pennsylvania  farmer,  and  attended  a back- 
country  school  where  drawing  was  concluded  a waste 
of  time  and  the  punishment  for  such  “ nonsense  ” 
was  severe;  consequently,  the  embryo  cartoonist  re- 
ceived many  a whack  over  the  fingers  for  his  early 
efforts.  His  occupation  was  varied  until  his  first 
newspaper  engagement;  he  worked  as  oil  pumper, 
grocery  clerk,  bell  boy,  paper  carrier,  cashier,  book- 
keeper, and  stenographer.  The  spirit  of  the  carica- 
turist was  always  in  evidence,  however,  and  the  ambi- 
tion to  be  a cartoonist  grew  stronger  as  constant  prac- 
tice and  study  improved  his  skill.  His  first  position 
was  with  the  Pittsburg  Post,  drawing  pictures  on 
chalk  plate,  casting  and  sawing  out  the  heavy  metal 
blocks  himself.  Since  he  began  cartooning  for  the 
Gazette  Mr.  Payne  has  originated  a comic  serial 
called  “ Coon  Hollow  Folks  ” which  has  been  most 
successful  and  which  the  Gazette  considers  one  of  its 
valuable  assets.  A little  raccoon  is  the  comedian  of 
the  series,  and  not  having  been  used  to  any  extent  by 
comic  artists  made  a hit  from  the  start.  Mr.  Payne 
has  a keen  perception  of  humor  and  in  composition 
sticks  to  extremely  simple  forms. 

V.  Floyd  Campbell  was  born  in  Port  Austin,  Mich., 


THE  ART  OF  CARICATURE  179 
in  1873,  graduating  from  the  High  School  in  1890. 
He  entered  the  service  of  Chas.  B.  Lewis  (M  Quad) 
the  same  year,  illustrating  “ Bowser,”  “ The  Lime 
Kiln  Club,”  etc.,  and  credits  him  with  much  of  the 
success  he  has  attained. 

He  began  his  newspaper  work  with  the  Detroit 


V.  FLOYD  CAMPBELL. 

North  American,  Philadelphia. 

Free  Press , meanwhile  studying  at  the  Museum  of 
Art  with  Joseph  Gies;  several  years  later  studying  at 
the  Detroit  Art  Academy  under  the  same  master.  In 
the  interval  between  1891  and  1894  he  was  em- 
ployed with  various  engraving  firms  in  Grand  Rapids, 
Lansing,  and  St.  Paul,  at  the  same  time  contributing 
to  the  newspapers  of  each  place. 


180  THE  ART  OF  CARICATURE 

After  a short  course  of  study  in  Chicago  he  re- 
turned to  the  Free  Press,  remaining  there  until  the 
fall  of  1897.  He  was  first  employed  in  New  York 
by  the  World  and  later  by  the  Herald,  for  which 
paper  he  acted  as  special  artist  during  the  Spani.sh- 
American  War.  He  moved  to  Philadelphia  in  1899 
and  contributed  to  the  North  American,  Inquirer, 
Press,  Bulletin,  and  Telegraph.  His  more  serious 
work  is  to  be  found  in  the  Booklover’s  Magazine  and 
book  illustrations.  Mr.  Campbell  is  now  caricaturist 
for  the  North  American. 


Crayon 

Portraiture. — ^ 

COMPLETE  INSTRUCTIONS  FOR  MAKING  CRAYON 

^ PORTRAITS  ON  CRAYON  PAPER  AND  ON  PLATI 
NUM,  SILVER  AND  BROMIDE  ENLARGEMENTS. 

Also  Directions  for  the  Use  of 

Transparent  Liquid  Water  Colors 

AND  FOR  MAKING 

FRENCH  CRYSTALS. 

By  J.  A.  BARHYDT. 

limo,  cloth,  illustrated,  revised  and  enlarged  edition. 

Paper,  50  cents.  Cloth,  $1.00. 

A carefully  prepared  hand-book  for  professional  and  amateur 
artists,  written  with  special  reference  to  giving  such  full  explana- 
tion of  details  as  to  furnish  to  those  who  desire  to  take  up  crayon 
work  a full  knowledge  of  all  the  materials  required  and  their  use 
and  manipulation,  together  with  all  the  methods  and  processes 
employed.  The  coloring  of  photographs,  engravings  and  photo- 
gravures with  Liquid  Water  Colors  and  the  making  of  French 
Crystals  are  also  fully  treated. 

The  author’s  successfully  accomplished  intention  was  to  furnish 
a manual  that  would  enable  the  student,  without  other  instruction, 
to  learn  with  exactness  all  he  required  to  know,  in  addition  to 
some  general  knowledge  of  drawing,  to  enable  him  to  undertake 
the  making  of  crayon  portraits  for  a livelihood  or  to  gratify 
his  taste  as  an  amateur. 

Sent,  post-paid,  on  receipt  of  the  price,  by 

The  Baker  & Taylor  Co., 

PUBLISHERS, 

33-37  East  Seventeenth  Street.  - NEW  YORK. 


PUBLICATIONS  OF 

THE  BAKER  & TAYLOR  CO., 

Publishers  and  Booksellers , 

33-37  EAST  SEVENTEENTH  ST.,  NEW  YORK. 

SHORT-STORY  WRITING:  By  Charles  Ray- 
mo hd  Barrett,  Ph.B.  12mo,  cloth,  $1.00. 

A practical  treatise  on  the  art  of  the  short  story,  designed 
to  present  concretely  the  rules  of  that  art.  It  is  a working 
manual,  not  a collection  of  untried  theories.  It  tells  how  to 
write  a story  with  reference  to  the  requirements  of  contem- 
porary editors. 

“ Will  prove  invaluable.  There  is  no  other  work  on  the 
subject,  and  the  one  or  two  books  on  fiction  writing  or  the 
art  of  authorship  are  either  ineffective  by  means  of  their 
abundant  theorizing  or  are  not  confined  to  the  needs  of  a 
definite  class.  It  is  refreshing  to  find  a man  so  imbued  with 
the  practical  and  so  well  balanced  in  his  ‘ don’ts  ’ and 
‘ dos.’  ” — -St.  Paul  Dispatch. 

“ Both  an  interesting  and  a useful  book.  While  it  is  con- 
cerned with  the  special  application  of  rhetorical  principles 
to  a particular  department  of  literary  art,  it  carries  a gen- 
eral application  that  all  literary  workers  m*v  profit  by,  as 
in  its  chapters  on  Titles,  Style,  and  the  Labor  of  Author- 
ship.”— Outlook. 

“ A volume  of  definition,  criticism,  and  instruction.  Sen- 
sible and  based  upon  careful  and  intelligent  study.  Young 
writers  will  do  wisely  to  read  it  and  heed  it.”— Congrega- 
tionalist. 

“ Teffs  pbout  the  title,  plot,  use  of  facts,  characters, 
method,  style,  and  many  other  things  about  which  the 
young  writer  would  like  to  know.  The  book  is  a boon  to 
those  who  wish  to  learn  their  art  thoroughly.”— School 

Journal.  „ ,,  , . ..  , , 

« Some  notion  of  the  difficulties  of  the  story-teller’s  art 
may  be  had  from  this  practical  treatise.  It  is  in  the  com- 
ments on  practical  methods  of  work  that  the  amateur  will 
find  most  profit.”— Springfield  Republican. 

Pent,  postpaid,  on  receipt  of  the  price , by 

THE  BAKER  & TAYLOR  CO.,  PUBLISHERS, 

33-37  E.  17th  St.,  Union  Sq.  North,  New  York. 


%\>\5  +10 


- to  H * 


r 


v 


GETTY  CENTER  LIBRARY 


